Dasha wore a black leather midi dress with strappy studded heels to Spotify’s 2026 Best New Artist Party in Los Angeles, California.
At Spotify’s Best New Artist Party in Los Angeles on January 29, 2026, Dasha kept things uncomplicated—sharp, sleek, with a little edge, like a guitar note that lands crisp. She showed up in a black leather midi dress , cut on bias, styled like it was built for walking into a dark room and stopping conversation mid-sentence.
The dress is spaghetti-strapped. Low neckline, hint of ruching near the bodice. No frills, no trick seams. Shiny but not loud. The leather hugs—doesn’t cling. Sits just below the knee in a dead-straight hem. It’s not reinventing anything, but it doesn’t have to.
She layered with multiple rings , one gold pendant necklace , and carried a mini structured clutch —black, with a faint gloss finish. On her feet? Strappy studded sandals , triple-wrapped around the ankle and across the toes. Every metal accent glinting just enough under flash.
Hair worn down, soft waves with a side part. Makeup is bronzed and low-effort—clean brows, peach blush, dark nude lip. It’s the kind of glam that doesn’t ask for reinterpretation. It functions like a chorus: consistent, catchy, no skips.
This look doesn’t beg to be decoded. It’s just there—confident, clean, one inch to the left of danger.
Lee Levi wore a plunging red halter gown with a floor-length train to the 2026 London Critics’ Circle Film Awards in Mayfair.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Lee Levi arrived in a bold flash of saturated silk. A true red carpet fashion move—she walked in wearing a radiant, liquid-finish crimson gown that was all clean lines right up until it wasn’t.
Top to hem, it’s a statement on restraint dressed as heat. The halter neckline rises into a choker collar, no visible clasp, just subtle tension. From there, the deep, front-facing plunge drops nearly to the waist, clean and narrow, with no mesh panel or invisible netting to break it up. Just skin and gravity and trust in the cut.
The waist is cinched with a simple fold-over sash—fabric-on-fabric, tonal. No sparkle. The skirt moves long and fluid down to her feet and beyond: a soft train puddled behind her in loose waves. Material reads satin, strong sheen under flash. There’s no embroidery, no architectural structure. Just movement built by weight and drape.
Her hair is slicked back in a clean updo , not over-styled, not messy—just out of the way. Gold hoop earrings , one delicate gold bracelet , and a confidently bare décolletage. Her glam is try-less: brushed-up brows, sheer foundation, pink-glossy lip. Enough to catch the lens. Not enough to try too hard.
Fashion here isn’t so much pushed forward as it is held still—and lit beautifully.
Hannah Waddingham wore a black blazer and lace-trim mini skirt with thigh-high boots to the London Critics’ Circle Film Awards 2026.
At the 46th London Critics’ Circle Film Awards in London on February 1, 2026, Hannah Waddingham showed up in a look that walked the line between executive and evening. This wasn’t one-piece ease—it was layered intention. She paired a tailored black double-breasted blazer , long enough to almost pass as a dress, with a visible black mini skirt peeking below, edged in delicate lace trim , just enough flash to catch the light without trying too hard.
It’s a power pairing— masculine cut on top , all clean lines and peaked lapels, sharpened shoulders left structured and intact. Below, it’s feminine mischief : the lace hem says “not done yet.” Add sheer black tights and over-the-knee leather boots —tight, second-skin fit, stiletto heel—suddenly everything pulls taught.
Hair up, loose tendrils. Makeup glowing, a soft bronze with a peachy lip. Just one visible dangling earring catches the light. No heavy accessories, no giant clutch or layered jewelry stack to tip the balance. It’s lean, confident dressing—built on lines, not jewelry cases.
Sometimes the most commanding looks don’t come stitched together—they come styled apart, sharp where it counts.
