Emma Brooks wore a strapless corset top and black leather mini skirt to A24’s The Moment premiere in Beverly Hills on January 29, 2026.
At the Beverly Hills premiere of A24’s The Moment , Emma Brooks stepped out in a clean, stripped-back look that skimmed the edge of sharp and soft. A strapless corset top , softly boned and paneled, sat structured on her torso—ivory with subtle vertical striping. Not satin. More matte, more serious. The bustline was completely straight across—no drama—while the fit did its own heavy lifting.
Below, she kept things tight and short with a black leather mini skirt , hugging the hips with no visible seams or embellishment. Just shape. The combo aligned like fashion punctuation: one piece giving rigidity, the other giving weight. She finished the look with high black boots , smooth and rounded with a pointed toe, gloss in the light but dark in tone. Mid-heel. Confident.
Hair was parted in the middle, pulled back into a loose braid on one side, keeping the look grounded. Makeup leaned neutral—strong brows, sculpted cheek, glossy lip. Arms bare, tattoos visible. No loud accessories. No bag.
It was the kind of event appearance where every piece knew when to stop. No ruffle, no fuss, no filler—just fabric, form, and one long exhale.
Daisy Edgar-Jones wore a white feather-trimmed mini dress to Estee Lauder’s Double Wear celebration at Chateau Marmont on January 29, 2026.
At the Château Marmont on January 29, Daisy Edgar-Jones showed up wrapped in softness—but not fragility. Her look for Estée Lauder’s Double Wear celebration leaned refined, with a wink of eccentricity. She wore a white mini dress , fitted and strapless, smooth as icing. The upper bodice was blanketed in tufts of long feathered fringe , arranged asymmetrically across the chest in a way that looked less “roaring twenties” and more “vintage winter bird at a gallery opening.”
The dress itself was minimalist—no seams, no zippers visible, no cutouts or peekaboos. Just sleek structure and whimsy wrapped into one clean silhouette. She kept her styling smart: muted nails, a subtle ring stack, and no necklace competing with the feather texture up top.
Hair was worn down in soft waves, parted naturally, face-framing with ease. Her makeup was light and balanced—nothing too sculpted. Just a bit of blush, soft liner, and a lip that matched the relaxed mood of the look. The profile was part fashion photoshoot , part “we didn’t try that hard,” and the balance actually worked.
This kind of quiet armor’s not shouting for best dressed—it just calmly owns its place at the table.
Normani wore a burgundy draped mesh gown with sheer panels and train detailing to the American Heart Association’s Red Dress Collection 2026 event.
At the 2026 Red Dress Collection concert in support of the American Heart Association, Normani didn’t just attend—she glided. Sculpted into a deep burgundy mesh gown that was more air than fabric, she moved like a figure sculpted out of wind. The dress? Covered, but barely. A sheer bodice swirled with layered panels that wrapped diagonally across the chest and hips like a carefully unwrapped ribbon—part dancewear, part goddess-level drama.
The standout moment came from the sleeve situation : one arm with a sheer draped train attached at the wrist, lightly caught in her hand like a veil. The movement was all fabric and attitude. You couldn’t miss it. The underlayer was sleek and body-hugging, while the outer layer gave shape, flow, airspace.
Her hair was worn long and parted down the center, cascading in polished waves—Old Hollywood minimal, paired with soft bronze makeup and a deep nude gloss. No necklace. Just a pair of minimalist hoop earrings. The beauty choices amplified the silhouette more than they interrupted it.
This event appearance didn’t rely on volume or sequins. Normani made red carpet impact with nothing but gauze, structure, and a deliberate pivot.
