Cynthia Erivo wore a rich brown ruched Balenciaga gown with sculptural feather accents to the 2026 Critics’ Circle Film Awards in London.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Cynthia Erivo showed up looking like power condensed—still, sharp, detailed. Her custom Balenciaga gown , in deep tobacco brown, didn’t lean into theatrics. Instead, it folded tension across her body with soft, directional ruching, and let the lines do the talking.
The material is sheer but weighted. Hand-ruched silk climbs all the way up—no straps, no neck detail, not even a visible seam break. Just a strapless tube that sculpts around her torso, pulls at the sides, gathers just enough at the hip. Then out of nowhere— sculpted feather accents , like pincushioned armor flaring from her hips. Deliberate. Slightly strange. Slightly genius.
The bottom doesn’t balloon or break loose. It just results—a slow spill into a cropped mermaid hem with a light, breezy train tailing the carpet. The color—brown, not bronze, not chocolate—feels unusual but lived-in. Organic, like dirt, like mulch, like evening air in a city park that’s been rained on. And that’s rare.
Accessories stayed tonal and tight. She wore multiple MARLI rings , tiled up over long almond-shaped nails done in a neutral buff finish. On her ears—a mix of MARLI’s diamond Cleo huggies and drop earrings , shimmering like whispers under the flash. And let’s not skip the shoes: Christian Louboutin’s brown satin Cassia pumps , sharp as a sneer.
Hair slicked back into a clean shell. Face controlled—cool-toned, contoured, zero gloss. But the look? Full heat.
A gown that doesn’t want the spotlight, only the gravity it creates.
Kehlani wore a sheer black beaded Valdrin Sahiti gown with a center cutout to the 2026 GRAMMY Awards at Crypto.com Arena in L.A.
At the 68th GRAMMY Awards on February 1, 2026, held at Crypto.com Arena in Los Angeles, Kehlani walked the red carpet in a look that toed the line between architectural and undone. Her gown, a custom Valdrin Sahiti design , was technically dressed to smolder—but the restraint came in its structure. This wasn’t just sexy. It was sculpted .
Titled “The Black Bloom Dress,” the piece floated down her body like a veil of beaded shadow. Held aloft by a single halter string , the neckline plunged in a bold vertical cutout that ran from clavicle to just above the waist, exposing bare skin framed in scalloped beading . Rows of hand-sewn embellishment curled in embroidery-like formations, creating peaks, valleys, negative space.
The sheer fabric —intentionally see-through by design—was paneled with bursts of dense black applique, forming a visual rhythm of coverage and exposure. Up close, you notice the micro beading: layered, textured, twitching when she moved. It’s not sparkle. It’s shimmer with structure. The central bodice cutout , bordered in clustered crystals, reinforced the tension between frame and fluidity.
She styled the gown minimally. Just black strappy heels , subtle rings, and small stud earrings . The tattoos on her shoulders and arms played an intentional part of the look—visible through the mesh, almost working like part of the print. Hair fell long and waved with a side part, set loose to offset the tension of the gown’s silhouette. Breezy, but not casual. Makeup stayed clean: strong highlight, a warm eye, defined lip. No drama—except the dress.
Kehlani didn’t just wear the dress. She let the dress behave like smoke—and walked right through it.
Jessie Buckley wore a sequined ivory jumpsuit with bishop sleeves to the 2026 London Critics’ Circle Film Awards at The May Fair Hotel.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Jessie Buckley embraced stillness in a sea of satin. While others showed skin or silhouette, she showed structure and shimmer. A head-to-toe ivory jumpsuit , blanketed in micro-sequins, demanded nothing — but held every eye.
Let’s start from the top. A high neck, long-sleeved cut , softly padded at the shoulders, made the whole thing read like a hybrid: somewhere between a red carpet gown and a tailored onesie for a disco poet . The bishop sleeves puffed slightly, finishing tight at the wrist. A subtle volume move — felt more than flaunted. The pants? Long and straight, soft drape, no flare, no fuss. The feet disappeared beneath them, save for metallic hints of sandal.
Under flash — it gleamed, not glittered. There’s no sparkle-for-sparkle’s-sake. Just the quiet rhythm of light hitting texture . Her hair was swept back, styled close to the head but with a few parted waves near the front — an intentional nod to vintage, unfinished elegance. Her makeup stayed muted: sun-touched cheeks, brushed brows, nothing too glossy.
And then there’s Jessie herself — not posing, exactly. More like standing. Present. Palms resting at the waist. Letting the garment speak in flat tones.
It was fashion that didn’t need to flirt. It just stood there — waiting for the room to adjust.
