Jessie Buckley wore a sequined ivory jumpsuit with bishop sleeves to the 2026 London Critics’ Circle Film Awards at The May Fair Hotel.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Jessie Buckley embraced stillness in a sea of satin. While others showed skin or silhouette, she showed structure and shimmer. A head-to-toe ivory jumpsuit , blanketed in micro-sequins, demanded nothing — but held every eye.
Let’s start from the top. A high neck, long-sleeved cut , softly padded at the shoulders, made the whole thing read like a hybrid: somewhere between a red carpet gown and a tailored onesie for a disco poet . The bishop sleeves puffed slightly, finishing tight at the wrist. A subtle volume move — felt more than flaunted. The pants? Long and straight, soft drape, no flare, no fuss. The feet disappeared beneath them, save for metallic hints of sandal.
Under flash — it gleamed, not glittered. There’s no sparkle-for-sparkle’s-sake. Just the quiet rhythm of light hitting texture . Her hair was swept back, styled close to the head but with a few parted waves near the front — an intentional nod to vintage, unfinished elegance. Her makeup stayed muted: sun-touched cheeks, brushed brows, nothing too glossy.
And then there’s Jessie herself — not posing, exactly. More like standing. Present. Palms resting at the waist. Letting the garment speak in flat tones.
It was fashion that didn’t need to flirt. It just stood there — waiting for the room to adjust.
Cynthia Erivo wore a rich brown ruched Balenciaga gown with sculptural feather accents to the 2026 Critics’ Circle Film Awards in London.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Cynthia Erivo showed up looking like power condensed—still, sharp, detailed. Her custom Balenciaga gown , in deep tobacco brown, didn’t lean into theatrics. Instead, it folded tension across her body with soft, directional ruching, and let the lines do the talking.
The material is sheer but weighted. Hand-ruched silk climbs all the way up—no straps, no neck detail, not even a visible seam break. Just a strapless tube that sculpts around her torso, pulls at the sides, gathers just enough at the hip. Then out of nowhere— sculpted feather accents , like pincushioned armor flaring from her hips. Deliberate. Slightly strange. Slightly genius.
The bottom doesn’t balloon or break loose. It just results—a slow spill into a cropped mermaid hem with a light, breezy train tailing the carpet. The color—brown, not bronze, not chocolate—feels unusual but lived-in. Organic, like dirt, like mulch, like evening air in a city park that’s been rained on. And that’s rare.
Accessories stayed tonal and tight. She wore multiple MARLI rings , tiled up over long almond-shaped nails done in a neutral buff finish. On her ears—a mix of MARLI’s diamond Cleo huggies and drop earrings , shimmering like whispers under the flash. And let’s not skip the shoes: Christian Louboutin’s brown satin Cassia pumps , sharp as a sneer.
Hair slicked back into a clean shell. Face controlled—cool-toned, contoured, zero gloss. But the look? Full heat.
A gown that doesn’t want the spotlight, only the gravity it creates.
Lee Levi wore a plunging red halter gown with a floor-length train to the 2026 London Critics’ Circle Film Awards in Mayfair.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Lee Levi arrived in a bold flash of saturated silk. A true red carpet fashion move—she walked in wearing a radiant, liquid-finish crimson gown that was all clean lines right up until it wasn’t.
Top to hem, it’s a statement on restraint dressed as heat. The halter neckline rises into a choker collar, no visible clasp, just subtle tension. From there, the deep, front-facing plunge drops nearly to the waist, clean and narrow, with no mesh panel or invisible netting to break it up. Just skin and gravity and trust in the cut.
The waist is cinched with a simple fold-over sash—fabric-on-fabric, tonal. No sparkle. The skirt moves long and fluid down to her feet and beyond: a soft train puddled behind her in loose waves. Material reads satin, strong sheen under flash. There’s no embroidery, no architectural structure. Just movement built by weight and drape.
Her hair is slicked back in a clean updo , not over-styled, not messy—just out of the way. Gold hoop earrings , one delicate gold bracelet , and a confidently bare décolletage. Her glam is try-less: brushed-up brows, sheer foundation, pink-glossy lip. Enough to catch the lens. Not enough to try too hard.
Fashion here isn’t so much pushed forward as it is held still—and lit beautifully.
