Kate Hudson wore an embellished satin Erdem dress and Zanotti mules to the 78th Annual Directors Guild Awards in California on February 7, 2026.
There’s no chasing trends here — just a clean, sharp return to red carpet precision. Kate Hudson attended the 78th Annual Directors Guild of America Awards in Beverly Hills on February 7, 2026 , wearing a look that knew exactly when to dial it back and when to hit hard.
The dress? Erdem’s embroidered textured satin midi pencil dress , off-the-shoulder, fitted through the waist and hips, with a demure length that still felt striking. The base fabric was an inky black satin, but the surface was dotted in dimensional jewel-like embroidery — scattered gold and crystal embellishments that caught the flash and threw it right back.
Shoes stayed out of the way but did their job. Giuseppe Zanotti Intriigo mules , black with the open toe, sleek enough to hold the look together without overcomplicating anything down low.
Hair was pulled back — not tightly, but smoothed with enough polish to elevate the neckline. And makeup stayed neutral but glowy. We’re talking skin-first, highlight in the right place, no lip drama.
No thigh-high slits. No structural tricks. No “statement” earrings the size of saucers. Just exact styling, careful fit, and weight in the right places. It worked because it wasn’t performing for social media — it was dressed for the room.
Coco Jones wore a dramatic burgundy fur crop top and patent mini skirt to Universal Music’s GRAMMYs after party in Los Angeles, February 1, 2026.
This is what after-party dressing looks like when you’re not interested in blending in. Coco Jones hit the Universal Music Group GRAMMYs after party on February 1, 2026 , wearing something that didn’t want to whisper. And absolutely didn’t.
She showed up in a burgundy red fur-textured off-the-shoulder crop top — voluminous, shaggy, unapologetic. It sat high, leaving space to show toned abs and a slick underlayer that felt almost like leather bra detailing, adding edge where volume leaned glam. The bottom half? Dark vinyl micro mini skirt , ultra-high hemline, reflective, cut sharp.
But the accessories? That’s where the chaos balanced itself out. She wore black opera gloves in sleek leather , complete with buckled wrist details. They added structure where everything else wanted to party. Shoes stayed clean — black ankle-strap heels , simple and necessary.
Hair loose and tousled, perfectly undone. Makeup leaned sculpted — defined eyes, brown-nude tones, nothing heavy on the lip. Jewelry? Understated. Let the textures fight their own battle.
Honestly? There’s no middle ground with a look like this — and she didn’t bother reaching for one. This was styled for impact, not polish. And sometimes that’s exactly what an iconic red carpet fashion moment needs: calculated imbalance.
Zoey Deutch wore a relaxed oversized black suit to host a special CAA screening of “Pillion” in Los Angeles on February 5, 2026.
The tailoring was wide all over — relaxed shoulders, loose arms, long blazer hem almost down to mid-thigh. Underneath? No bright blouse or glammed-up cami. Just black on black. The pants matched the energy: generously cut, drop-waisted, and pooling ever so slightly over a pair of black pointed heels that just peeked from the fabric.
No accessories fighting for airtime. No flashy hair moment. Just a soft wave and a tucked part. The nails were nude, her stance was grounded, the whole thing breathing calm confidence. It wasn’t trying to be high fashion — and that’s why it looked so good.
This kind of event appearance feels honest. No red carpet theatrics. Just someone hosting her own film screening looking smart, casual, and totally uninterested in overcompensating.
