Halle Bailey wore a ruched red halter gown with sculpted details at the 68th GRAMMY Awards Pre-GRAMMY Gala in Beverly Hills in January 2026.
At the 68th GRAMMY Awards Pre-GRAMMY Gala & Industry Salute in Beverly Hills on January 31, Halle Bailey delivered a look that felt both grounded and glowing — no embellishment, no theatrics. Just form, color, presence.
She wore a sleek red halter gown , fitted through the torso and ruched gently at the waist. The fabric clung, not tightly, but with control — like it knew exactly where to sit. A gathered detail wrapped at the hips, drawing the silhouette inward before letting the skirt ease into a soft column. No train, no drama. Just enough textile to move with her but never distract.
The neckline ran up into a clean halter, opening the shoulders and showing off her collarbones with quiet precision. Her signature locs were styled into a high ponytail, neatly braided close to the scalp and leaving her face fully defined and uplifted. Matching silver hoops and rings were the only accessories. Makeup stayed luminous and honest — warm contour, soft copper shimmer, bare lip.
It wasn’t a look at me gown. It was more I’m here, and you see me.
Red dresses aren’t bold by default — they’re only as strong as the woman inside them. Halle didn’t just wear this gown. She knew how to walk in it.
Tessa Thompson’s September 2025 Esquire USA feature moves between textured fashion and sharp talk about her left-of-center film choices.
In Esquire USA’s September 2025 issue, Tessa Thompson stands in front of a floral-patterned couch, black textured dress heavy against the warm-toned wall. One hand raised, the other holding a ribbon. Hair voluminous, carpet pale. The frame feels vintage, almost stubborn in its stillness.
The article digs into her career. Thompson has used her star power not to chase safe roles but to push unusual projects. From Creed and Marvel blockbusters to HBO’s Westworld , she’s balanced mainstream visibility with independent films like Annihilation , Dear White People , and Selma . Now she’s producing and starring in Hedda , a new take on Ibsen’s Hedda Gabler . It’s not just about acting — it’s about shaping stories that reflect her values, elevating voices often left out.
Her words carry the same edge as her pose. She talks about her mother’s influence, about relationships, about choosing work that feels alive. The spread doesn’t flatten her into one image. It lets her be both the Hollywood name and the restless producer.
Chloe Bailey wore a halter-style black gown with sheer textured panels to the 68th GRAMMY Awards Pre-GRAMMY Gala in Beverly Hills in 2026.
At the 68th GRAMMY Awards Pre-GRAMMY Gala and Salute to Industry Icons in Beverly Hills on January 31, Chloe Bailey didn’t need declarations or excess to steal the moment. She walked in wearing a look that relied on stretch, sculpt, shadow — and her own impossible composure.
The dress: a black halter gown that read like sculpture in motion. Ribbed texture throughout, cut on multiple angles, hugging hip and bust with different levels of tension. It wrapped sharply at the neck before crashing into a deep, jagged neckline , almost shredded at the center like it had survived something. Sheer paneling played tricks on the eye — the kind that makes you double-take, not because it’s revealing, but because the textile is too precise.
It was a fashion moment with muscle — strategic, not just sexy.
The styling? Strong and simple. Pointed black stilettos , no excessive shine. Small earrings, pulled-back hair, warm-toned makeup with a smoky eye and a bare lip. The balance leaned inward — expression over overt styling.
And her posture gave it context: shoulders back, one hand relaxed at the side, the other barely brushing her hip. Not posing. Placing. Owning.
The moment wasn’t louder than the look — it didn’t have to be. This was a red carpet built around restraint, performed with sharpness.
