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.
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.
Bunnie Xo wore a sheer scarlet lace gown with bell sleeves and corset waist to the 68th GRAMMY Awards in Los Angeles on February 1, 2026.
At the 68th GRAMMY Awards on February 1, 2026, Bunnie Xo did what so few dare to do on a red carpet baked in rhinestones and safe sequins—she doubled down, unapologetically, on drama. This is not “just” a gown. This is red lace layered, ruched, flared, and fed through a corset for maximum structure.
The fabric is a bold scarlet lace , sheer throughout, with varying densities. On the arms: sleeves puff into exaggerated bell cuffs , like something borrowed off a Baroque chapel curtain. The bodice leads with a deep V neckline , but it’s the visible corset boning that grabs the whole thing by the waist—tight, vertical, commanding. Below, the skirt fans and clings, with train-like volume dragged behind in double ruffles and asymmetric bunching. It’s loud. And deliberate.
Hair? Pinned into big, brushed waves , shoulder-length and flipped at the ends, with a strong side part. Glam skews filtered—contour, lined lips, blush done with a heavy hand. Nothing subtle. That’s kind of the point.
Accessories were kept behind-the-line. Long nails. A metallic clutch nearly camouflaged by the volume of lace. You saw the gown. You didn’t need extras.
This was not an act of restraint, nor did it want to be. The look was built to swallow up space—and sure enough, it did.
