Heidi Klum wore a flesh-toned sculpted latex body-mold dress and nude pumps to the 2026 GRAMMY Awards in Los Angeles.
At the 68th GRAMMY Awards , held February 1, 2026, at the Crypto.com Arena in Los Angeles, Heidi Klum once again walked the red carpet without flinching. What she wore was neither subtle nor soft—this was fashion as provocation, delivered in near silence. The latex midi dress , molded to mimic her own naked form, came in a peach-nude so close to her skin tone it nearly disappeared at first glance. Only when the light bounced off the ultra-glossy finish did the sculptural absurdity become clear: breasts, ribs, hips—all embossed anatomically , like an airbrushed scan pressed onto plastic wrap. A blunt, knowing visual joke. But not a cheap one.
It’s camp minimalism: no color, no pattern, not even seams to chase. Just a surreal, second body sealed tightly around her own. Even the hemline, with its uneven raw-cut edge , feels peeled rather than styled. A few small silver buckle clasps along the sides. No jewelry overload, just rings on both hands . And those nude pumps , blunt-toe and unassuming, melt into the red carpet like the dress melts into the skin.
Her hair was left loose— long, center-parted, wavy , beachy but brushed—not fussed over. Makeup sat quietly too: nude lip, soft bronze eye , that’s it. The whole choicescape was focused around letting the dress speak, and maybe even snicker.
This isn’t about elegance. It’s not transgressive either. What it is—slick, funny, slightly unnerving—is a kind of latex meta-commentary. You want skin? Here, have all of it—sterilized, rubberized, hard to unsee.
Jenna Ortega’s STARBURST cover for Issue 491 blends gothic precision with behind-the-scenes grit, as Wednesday returns sharper and stranger.
In STARBURST Magazine’s Issue 491, Jenna Ortega stares out from the cover, braided and buttoned, stitched hand resting on her shoulder. It’s Wednesday, but more layered. The black-and-white stripes, the tie, the stare — all familiar. But the tone feels heavier.
Inside, the second season of Wednesday unfolds with new tension. Ortega’s now a producer, weighing in on blood color, prosthetics, and costume approvals. She talks about learning from Tim Burton directly, about the freedom to play and the safety of being pulled back when needed. It’s not just performance anymore — it’s control.
The fashion shifts too. Less denim, more structure. Sharp coats, layered tulle, a detective silhouette from the ’60s. Gothic, yes, but more precise. Colleen Atwood and Mark Sutherland push the lines tighter.
The family’s back. Morticia, Gomez, Pugsley — now full-time. Uncle Fester returns, and Grandmamma arrives, played by Joanna Lumley. Ortega and Zeta-Jones were star-struck. Burton calls Morticia and Gomez a “beautiful odd couple,” and Pugsley “an outcast among outcasts.”
The show’s still about Wednesday. Her growth is subtle, almost invisible. She’s still not fond of school. Still sharp. Still strange. But the world around her gets louder, and she stays still.
Este, Danielle, and Alana Haim wore coordinating black satin embellished ensembles on the 2026 GRAMMYs red carpet in Los Angeles.
At the 68th GRAMMY Awards , held on February 1, 2026, at Crypto.com Arena in Los Angeles, Este Haim , Danielle Haim , and Alana Haim stepped onto the red carpet with what appeared to be zero interest in maximalism—but every intention of sync.
There’s a kind of quiet genius in showing up like this: three versions of the same outfit, each bent a little differently to meet their personalities. Same fabric, same silhouette rules— sleek black satin, silver-chain trim, column skirts with sharp side slits . But there’s variation in the storytelling.
Look 1: Este Haim, the Soft Power Statement
Este’s take goes minimalist— a bandeau-style crop top with delicate rhinestone straps tracing across the shoulders and back. The skirt falls mid-ankle, with a side slit edged in gemwork. Hair kept long, loose, and parted center. Not screaming for attention, just… letting the cut and line breathe. This is how you do coordination without uniformity.
Look 2: Danielle Haim, the Structured Anchor
Danielle’s version shifts tonally. Hers is a full, sleeveless tank gown with a halter illusion created by criss-crossing straps and a deep V-neckline. The same silver embellishments trail the seams, but the structure skews a bit more regal—less playful, more poised. You could blink and picture this sewn into eveningwear history books next to ’90s Prada.
Look 3: Alana Haim, the Relaxed Edge
Alana sticks closer to Este’s crop-top formula, but lets the styling slide toward lightness. Her straps curve farther out toward the shoulders, creating more skin real estate around the neckline. A satiny band skims the ribcage and almost floats above the waistline. Everything about the styling feels a bit more relaxed—even her posture carries that It Girl shrug.
Pulling off coordinated styling as a group—particularly on the red carpet fashion landscape that often leans competitive—is no easy feat. Doing it without looking like a trio at prom or a last-minute girl group relaunch? Rarer still. There’s no color shock, no overstyled glam squads, nothing “too much.” Just a trio of complementary energies, bound by textile and tempo.
This wasn’t matchy-matchy—it was a visual harmony, tuned low but crisp.
