Karol G wore a sheer icy blue embroidered lace gown with fringe and corset seaming to the 2026 GRAMMY Awards in Los Angeles.
At the 68th GRAMMY Awards held at Crypto.com Arena on February 1, 2026, Karol G walked a red carpet laced with intention—literally. Her sheer, icy-blue gown felt like a whisper spun into embroidery. Buttoned straight down the center, it clung from bust to hem with corset-inspired structure sewn right into floral lace.
This wasn’t a dress built for coverage. The translucent floral overlay , threaded with silver-toned stitching, balanced risk with detail. Every floral motif gave just enough—like camouflage from flashbulbs rather than modesty. A soft sweetheart neckline dipped low, accented by off-the-shoulder straps floating at the edges of her arms. There’s something deliberately unbothered in the way it fits, even while it’s undeniably sculpted.
The most dramatic element? Not the slit. Not the skin. It’s the floor-grazing train of fringe , knotted and draped to one side like a shawl reimagined. There’s movement here, but subtle—like her look brought its own wind.
Accessories were minimal: a bracelet, delicate rings, possibly studs under all that layered tousled blonde hair . Her glam stuck to familiar comfort: bronzed cheekbones, soft-lined eyes, nude lips. Effort wearing sparkle’s ghost.
Clear peep-toe heels let the dress speak for itself. No heavy shoes. No interruption at the bottom. It ends where it began—lace against skin, light on intention, heavy on texture.
It’s not sculptural. It’s liquid. And somehow, Karol makes that softness feel bold again.
Taylor Momsen wore a sheer black Ludovic de Saint Sernin gown and platform pumps to the 2026 MusiCares Person of the Year Gala.
At the MusiCares 2026 Person of the Year Benefit Gala in Los Angeles, Taylor Momsen didn’t just walk the red carpet—she cast a long, black shadow across it. Her look? An altered version of the “Carrie Dress” by Ludovic de Saint Sernin . A nearly invisible gown made of sheer tension, minimalist fabric, and controlled chaos.
The entire silhouette rides on a v-shaped halter neckline , plunging past the chest and down to the ribs, anchored by two strings and sheer audacity. The torso is see-through. Deliberately. The paneling across the chest? Strategic. Fragile-looking. Unapologetic. With the sides left bare , the effect lands somewhere between ’90s grunge goddess and contemporary couture strip-down.
The back of the dress falls into a light train , not theatrical but patient. It moves like it sighs. The fabric reads like chiffon or silk mesh with almost no weight—just suggestion. No lining. No embellishment. Just body, bias cut, and boundary tests.
On her feet, the Versace Aevitas pointy platform pumps , harsh and assertive, elevate the dress into something meaner. Guns-for-heels. And then there’re the accessories: neck chains layered like armour , all silver, lengths stabbing into the neckline and spreading down the chest. Heavy rings on nearly every finger , plus black bangles stacked like punctuation. Her wrists looked armed.
Hair was worn down in classic Taylor texture— platinum waves parted middle and barely restrained at all. Makeup leaned skeletal: heavy charcoal eyes, pale lips, skin neutral. Gothic, not fake. The whole look felt lived-in, not styled into perfection but summoned from some pre-dawn memory.
It wasn’t about hardness or softness. It was about the silhouette becoming a scream you lean into instead of away from.
Cristina Kovani wore a plum pleated chiffon gown with bishop sleeves to the Carmen Awards in Granada, Spain, on January 31, 2026.
At the 2026 Carmen Awards on January 31 in Granada, Cristina Kovani arrived in a gown that spoke in low tones. No meta-text, no contrived statement. Just a plum-colored haze of pleated chiffon, layered across the body like memory.
Her dress featured a high rounded neckline , gentle ruching at the chest, and full bishop sleeves that ended at the wrist with soft elastic gathers—not stiff cuffs, just enough to define the shape. The midsection cinched with dense vertical pleats , hugging the body without screaming. Below that, the skirt slipped into more relaxed folds that melted into the hem. No slit. No train. Just hem hitting floor with a slight sweep.
Fabric floated—slightly sheer on the arms, opaque through the bodice and skirt. But it never went theatrical. Color was everything. That saturated eggplant plum , anchored and still, looked richer under red carpet spotlights without going high-drama.
Her hair was tucked back loosely with a side part—brushed, then let go. Makeup stayed flush and simple: warm-toned blush, natural lip with sheen, a clean brow. A single visible ring on her right hand . No earrings showing. The shoes barely peeked from under the gown—metallic or crystal toe perhaps, but barely a flicker.
Overall: quiet construction. Thoughtful fabric play. No headlines needed. An anti-glitz kind of elegance—the kind that lingers.
