Coco Jones wore a dramatic burgundy fur crop top and patent mini skirt to Universal Music’s GRAMMYs after party in Los Angeles, February 1, 2026.
This is what after-party dressing looks like when you’re not interested in blending in. Coco Jones hit the Universal Music Group GRAMMYs after party on February 1, 2026 , wearing something that didn’t want to whisper. And absolutely didn’t.
She showed up in a burgundy red fur-textured off-the-shoulder crop top — voluminous, shaggy, unapologetic. It sat high, leaving space to show toned abs and a slick underlayer that felt almost like leather bra detailing, adding edge where volume leaned glam. The bottom half? Dark vinyl micro mini skirt , ultra-high hemline, reflective, cut sharp.
But the accessories? That’s where the chaos balanced itself out. She wore black opera gloves in sleek leather , complete with buckled wrist details. They added structure where everything else wanted to party. Shoes stayed clean — black ankle-strap heels , simple and necessary.
Hair loose and tousled, perfectly undone. Makeup leaned sculpted — defined eyes, brown-nude tones, nothing heavy on the lip. Jewelry? Understated. Let the textures fight their own battle.
Honestly? There’s no middle ground with a look like this — and she didn’t bother reaching for one. This was styled for impact, not polish. And sometimes that’s exactly what an iconic red carpet fashion moment needs: calculated imbalance.
Coco Jones wore a structured corset gown in sheer nude tulle to the 68th Annual GRAMMY Awards in Los Angeles on February 1, 2026.
She didn’t play it safe — and thank God for that. Coco Jones showed up to the 68th Annual GRAMMY Awards on February 1, 2026 , in a dress that immediately asked: “Are we doing pure glamour or architectural fantasy?” Her answer? Yes.
The gown was a blush-toned corset mini fully wrapped in soft nude tulle , forming a trail of asymmetrical drapes falling to the floor. The construction had it both ways — sculpted bodice, exaggerated hips, one-shoulder ruffle drama, and a sheer overlay that gave the whole thing a floating effect. Not delicate. Direct.
It was bold, but not overwhelming. The inner corset structure balanced the volume, and the shorter base hem kept the silhouette visible through all the fabric. She finished it with matching strappy sandals and a healthy dose of confidence.
No necklace. Smart move. Hair stayed glossy, parted down the center — a clean backdrop to soften the look’s edge. Rings gave the fingers some activity, but everything about this fit knew what the star was: the gown, full stop.
Let’s be honest. A look like this can go cartoon real fast. But Coco knows how to own awkward volumes and sharp lines at the same time. This was effort — but smart effort. And it landed.
Kate Hudson wore an embellished satin Erdem dress and Zanotti mules to the 78th Annual Directors Guild Awards in California on February 7, 2026.
There’s no chasing trends here — just a clean, sharp return to red carpet precision. Kate Hudson attended the 78th Annual Directors Guild of America Awards in Beverly Hills on February 7, 2026 , wearing a look that knew exactly when to dial it back and when to hit hard.
The dress? Erdem’s embroidered textured satin midi pencil dress , off-the-shoulder, fitted through the waist and hips, with a demure length that still felt striking. The base fabric was an inky black satin, but the surface was dotted in dimensional jewel-like embroidery — scattered gold and crystal embellishments that caught the flash and threw it right back.
Shoes stayed out of the way but did their job. Giuseppe Zanotti Intriigo mules , black with the open toe, sleek enough to hold the look together without overcomplicating anything down low.
Hair was pulled back — not tightly, but smoothed with enough polish to elevate the neckline. And makeup stayed neutral but glowy. We’re talking skin-first, highlight in the right place, no lip drama.
No thigh-high slits. No structural tricks. No “statement” earrings the size of saucers. Just exact styling, careful fit, and weight in the right places. It worked because it wasn’t performing for social media — it was dressed for the room.
