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.
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.
Dove Cameron wore a black Zuhair Murad cutout gown at the MusiCares 2026 Person of the Year tribute to Mariah Carey in Los Angeles.
At the 2026 MusiCares Person of the Year gala honoring Mariah Carey, held at the Los Angeles Convention Center, Dove Cameron didn’t opt for drama—she became it. Her entrance in a black Zuhair Murad Spring 2026 gown was rooted in restraint, but the look left no space for timidness. The fabric melted down her body like darkened silk, gathered and knotted at the waist with a subtle twist. Unfussy, but architectural.
There was a cutout just above the hips , symmetrical and concise. It softened the stark silhouette with a breath of skin. Not flashy, almost anatomical. Shoulders structured, mock neck raised, sleeves sweeping high and clean—but the sides peeled away softly, giving the illusion of something collapsing on purpose.
The styling around it stayed minimal: her hair split and slicked back tight with that glassy center part. No earrings. Bare arms aside from visible tattoos. On her feet, razor-sharp Christian Louboutin Rosalie Alta sandals , barely showing beneath the gown’s hem—just enough to catch light and disappear again. And one more thing: she wore her Bernini custom engagement ring , quietly gleaming underneath all that black draping.
This wasn’t your overworked red carpet fashion moment. It was eerie calm. Cameron looked like a shadow stitched out of fabric and tension—with the kind of tailoring that doesn’t need to raise its voice to get silence.
