Gabbriette wore a sheer black lace-trimmed slip dress with tights at the Saint Laurent Grammy 2026 after party in Los Angeles on February 1.
At the Saint Laurent Grammy 2026 after party held at Bar Marmont in Los Angeles on February 1st, 2026 , Gabbriette showed up in a look so pared back, it barely blinked. A black lace slip dress , short and sheer, with eyelash lace tracing out the bust and hem. The fabric’s shine was soft, not theatrical. Just skin, lace, and shadow.
She kept everything else aligned with the same muted clarity: black sheer tights , pointed satin heels , no necklace, and a small crescent-shaped handbag with a barely-visible white card peeking out. Her long black hair fell blunt and center-parted, untouched by curlers or gloss. Nothing about it tried too hard. That’s the point.
In a moment when event appearances often lean toward sculpted volume or visible luxury, this felt like a deliberate subtraction. Intimate, unfiltered, and quietly resistant to the noise of red carpet conventions. The look doesn’t scream sex or cool—it just moves through the room like someone passing through smoke. It’s not performance, it’s presence—almost eerie in its restraint.
Tallia Storm wore a silver disc mesh mini with platform pumps at Universal Music Group’s Grammy 2026 after party in Los Angeles on February 1.
At the Universal Music Group Grammy after party on February 1st, 2026 , held at NYA WEST in Los Angeles, Tallia Storm didn’t walk in — she shimmered. Head to toe. Her metallic disc dress , made entirely of oversized mirrored paillettes, caught light from every direction. No base layer. Just skin and shine. Like chainmail that partied too hard.
The silhouette was almost nonexistent — no strict cut, no hem unity — just movement. Some panels floated, some stuck against her skin. She finished it off with towering black latex platforms , an oversized chain-link choker , and rough-tossed blonde hair swept to one side like she’d run her fingers through it just once before stepping into the flash.
In a room full of filtered glam and sculpted silhouettes, this felt sharp-edged. Messy-clean. Definitely louder than most celebrity event looks , but not cheap. Not costume. It’s the kind of look that doesn’t ask for relevance — it just flashes until you can’t ignore it any longer.
Sarah Snook’s Vogue China February 2026 shoot moves between red pleats, rustic walls, forest light, coastal beige, and white field calm.
On the cover of Vogue China’s February 2026 issue, Sarah Snook stands in a long red dress, pleated, foliage behind her. The stance is steady, the color sharp against green.
Another frame: dark gray outfit, jacket tied at the waist, pants matching. Wooden wall behind, rustic planks, lipstick red. It’s moody, almost contemplative.
Then the forest. Beige gown, shawl draped, sunlight filtering through trees. Shadows heavy, beams cutting across. The look feels grounded, almost spiritual.
Fourth: beige form-fitting outfit, coat draped. Hills rolling, ocean distant, sky clouded. The tone is softer, but the setting makes it expansive.
Last frame: white coat and pants, sitting on grass. Trees shading, sunlight scattered. The pose is relaxed, almost careless, but the outfit keeps it sharp.
Together, the spread doesn’t flatten her. It lets her shift. Red, gray, beige, white. Each outfit carries its own imperfect rhythm.
