Josephine Skriver walked the Gestuz runway in an oversized leather coat, trousers, and shirt at Copenhagen Fashion Week on January 28, 2026.
On January 28, during the Gestuz runway show at Copenhagen Fashion Week, Josephine Skriver looked like a noir detective who stopped by the club on her way to solve capitalism. The look was pure oversized attitude—a distressed black leather trench coat , heavy, wide-shouldered, and dragging proportions halfway to the floor. Beneath it, a loose-fit light blue collared shirt , half-unbuttoned and partially tucked, hinting at a cropped cut without begging for attention.
Tied loosely at the neck: a muted khaki green necktie , knotted like an afterthought, not because it was needed but because it made the silhouette stranger—in a good way. Pants? Extra-wide leg black trousers with piped white trim. Boxy, satiny, nearly puddling. Pushed far past traditional tailoring into something more experimental, sporty, masculine, and tired—all at once.
In her hand? A chunky clutch, dark brown and crescent-shaped, with a sculptural handle that looked like a wooden toy. And the shoes, just catching light under all that draped leg: black split-toe boots—adding yet another genderless fragment to the muddled mix.
This wasn’t a polished event appearance . It was a fully lived-in moment of fashion fatigue disguised as edge. Skriver didn’t strut. She trudged—with purpose, wrapped in oversized armor and deliberate disarray.
Becky G wore a black one-shoulder slit gown with safety pin details at the 2026 MusiCares Person of the Year gala honoring Mariah Carey.
At the 2026 MusiCares Person of the Year tribute to Mariah Carey, held January 30 in Los Angeles, Becky G skipped the frills and came ready for a clean hit of visual impact—classic fabric, classic cut, sharp tailoring, sharper styling. The foundation was a black, one-shoulder floor-length gown , cut close through the torso and pooled at the hem with a barely-there sweep. Silky but not slippery, matte but not dead.
What gave it edge? A pair of silver safety pins , one at the bust and one gripping the side slit high up on her thigh—half-punk, half-throwback Versace. Enough skin shown to make the silhouette legible as body-conscious, but not desperate. The dress clung with certainty, not struggle.
Her hair was parted cleanly down the middle, styled in full, glassy lengths—the kind you don’t touch once it’s brushed. Absent neckline jewelry kept the profile severe, but she stacked silver rings across her fingers like punctuation. Black platform peep-toe stilettos brought height, bite, and balance.
This wasn’t a maximalist red carpet fashion moment—no sequins, no train, no bleeding trend. It was about one garment, two pins, and the confidence to let a sharp slit carry the rest.
Karlie Kloss wore a strapless black midi dress and sheer tights at Estée Lauder’s Double Wear event at Chateau Marmont on January 29, 2026.
At Estée Lauder’s Double Wear celebration at Chateau Marmont on January 29, Karlie Kloss looked calm, poised, and structurally locked in. The pose was loungey, but the dress wasn’t casual. A strapless black midi-length column dress , narrow through the hips with a subtle back slit. The bodice wrapped with enough hold to feel sculpted, not squeezed. There’s no embellishment—none needed. The elegance here was disciplinary.
She wore black sheer tights —a detail that’s somehow both classic and unfashionable, which is what made it quietly bold. Shoes: pointed black pumps , patent leather shine, not calling attention to themselves. Her hair? Deep side part, liquid wave. Shoulder-skimming, tucked efficiently behind one ear. One bracelet. Two earrings. Everything sitting just right. No reinvention—just finely tuned presence.
It’s not loud, not engineered for social clips or press bait. It’s that rare kind of event appearance that understands its job is to look solid in candlelight and confident under flash. She didn’t come to overstyle—she came to remind the room what it looks like when tailoring clicks into silence.
