Charli XCX wore a custom Chrome Hearts leather corset gown with platform heels and layered gemstone jewels to the 2026 GRAMMY Awards.
At the 68th GRAMMY Awards on February 1, 2026, at Crypto.com Arena in Los Angeles, Charli XCX didn’t roll in so much as stake claim. This wasn’t slick red carpet polish. This was rock-muse armor. A full Chrome Hearts custom look in black leather—yes, real leather—cut into a structured corset-style bodice with silver buttons and hard-seamed shaping. The skirt, also leather, skimmed to the floor in a rigid maxi length. One slit at the back. No movement. It creaked. It owned.
What settled the whole thing in fantasy territory was the belt —a thick Western-inspired piece with tooled metal hardware, ridged edges, and ornate shoulder-of-Texas energy. Not playful. Aggressive. Styled with platform black pumps , high-gloss finish, nothing dainty there either. And then came the sparkle.
At the neck, two layered necklaces told two different stories. One: a Chrome Hearts Cuban chain , industrial, street. The other: a high-shine, impossibly blue Tiffany & Co. High Jewellery necklace set in platinum, floating with tanzanite and diamonds. The excess was deliberate. Shoulders clean. Arms bare. Face framed with waves of pitch-black hair, center-parted, cascading in deep-glam curls.
She clutched something neutral—a minimalist boxy clutch , bronze-brown, matte. And on her finger: a Claude Morady solitaire engagement ring , seen clear as day when her hand rose to the mic.
The look didn’t scream music. It hummed rebellion. It felt like control more than chaos—more Madonna 2003 than pop-star-of-today formula. She didn’t come dressed to win; she came dressed to menace the front row with leather and good jewelry.
Olivia Rodrigo wore a sheer pink lace dress with rose appliqué and satin pumps to Pitchfork’s Best New Music Party on January 31, 2026.
At Pitchfork’s first-ever Best New Music Party on January 31, 2026, Olivia Rodrigo didn’t just slip into the room—she settled, deep in a brown leather booth, as if she’d been there all night. The look? Soft, borderline mischievous. A gauzy, pink chiffon dress , nearly translucent in places, clinging more than covering. The deep V neckline lets the lace edges skim her collarbones, while the bust sits unlined—deliberately, not carelessly.
Across the stomach, a patch of embroidered roses , bright fuchsia and red, bloom flat against the fabric, like a quiet punchline. Floral without the romance. Skirt goes long— not floor-length, but not flirty-short either —just enough to keep things slow. A pair of muted pink satin heels round it out, matching but not fighting the mood.
Hair’s down, not overly styled. Maybe no product at all. One side falls forward in a polished wave, like a knowing wink tucked behind no earrings. Her finger’s pressed to her lip in that deliberately un-posed pose—with the energy of someone keeping her headline in her back pocket.
There’s nothing loud here. No diamonds. No gloss bomb. Not even shimmer. Just that low-wattage kind of dressing that feels like it belongs in the back booth of a club you can’t quite name.
It’s the kind of look that whispers “don’t look at me”—while making sure every flash does.
Jenna Ortega’s STARBURST cover for Issue 491 blends gothic precision with behind-the-scenes grit, as Wednesday returns sharper and stranger.
In STARBURST Magazine’s Issue 491, Jenna Ortega stares out from the cover, braided and buttoned, stitched hand resting on her shoulder. It’s Wednesday, but more layered. The black-and-white stripes, the tie, the stare — all familiar. But the tone feels heavier.
Inside, the second season of Wednesday unfolds with new tension. Ortega’s now a producer, weighing in on blood color, prosthetics, and costume approvals. She talks about learning from Tim Burton directly, about the freedom to play and the safety of being pulled back when needed. It’s not just performance anymore — it’s control.
The fashion shifts too. Less denim, more structure. Sharp coats, layered tulle, a detective silhouette from the ’60s. Gothic, yes, but more precise. Colleen Atwood and Mark Sutherland push the lines tighter.
The family’s back. Morticia, Gomez, Pugsley — now full-time. Uncle Fester returns, and Grandmamma arrives, played by Joanna Lumley. Ortega and Zeta-Jones were star-struck. Burton calls Morticia and Gomez a “beautiful odd couple,” and Pugsley “an outcast among outcasts.”
The show’s still about Wednesday. Her growth is subtle, almost invisible. She’s still not fond of school. Still sharp. Still strange. But the world around her gets louder, and she stays still.
