KATSEYE wore a coordinated series of sheer monochrome evening looks to the 2026 Music Is Universal showcase hosted by Lucian Grainge in LA.
At Sir Lucian Grainge’s 2026 Music Is Universal artist showcase in Los Angeles, girl group KATSEYE arrived in curated contrast—six different looks, but a single visual vocabulary. The styling? Sheer, structured, and sharp-edged, all in monochrome tones. Every member wore variations on flowing silks, bodycon mesh, exposed midriffs or lingerie layering—offset by precision details like straps, slits, metallic jewelry, and just enough skin.
Each of the members wore coordinated clear or black heels (no platforms), their hair styled in expansive waves and center parts. Jewelry??? Minimal but deliberate—clear stones, layered rings. The looks balanced cohesion and individuality without falling into “all-same-dress” territory.
This wasn’t a flat group entrance. It moved like a unified campaign shot—six image frames stitched into one public appearance with rhythm and sync.
Liamani Segura wore a strapless denim mini dress and black knee-high boots at the 68th GRAMMY Awards Gift Lounge in 2026.
At the 68th GRAMMY Awards Gift Lounge in Los Angeles on January 31, 2026, Liamani Segura made a youthful appearance in a streamlined outfit that balanced playfulness with a touch of mid-2000s nostalgia. The strapless denim mini dress featured a paneled construction, combining light-washed blue chambray with a black leather-look bust panel — a two-texture design that gave the dress a subtle visual snap without overcomplicating the silhouette. Paired with sleek black knee-high boots in a softly pointed toe shape, this outfit leaned confidently casual, suitable for browsing candy booths or posing with oversized heart-shaped props.
The look fits easily into today’s pop-commercial aesthetic — cheerful branding, strategically simple styling, and a wink toward the TikTok carousel generation. There’s something refreshingly uncluttered about how she dresses here: no extra jewelry beyond a minimal gold necklace, hair kept loose in soft curls, makeup restrained and glossy rather than heavy. It’s not trying to be subversive or editorial — it just is , and that ease fits the setting. These gift lounges aren’t about fashion risk; they’re more about approachability within an influencer-saturated media event. A lighthearted event appearance like this signals presence first, fashion second — and that’s not necessarily a bad thing.
Rose Byrne moves through Style Magazine’s February 2026 issue, caught between satin polish and maternal unraveling.
In Style Magazine’s February 2026 issue, Rose Byrne leans into a black-and-white striped armchair, halter-neck satin dress catching the light. The room is modern, geometric, almost too composed. But the pose is loose, like she’s halfway through a thought.
The editorial shifts. She’s stretched across a black couch, white fringed dress, red ribbon heels. A lamp hangs overhead, beige and soft. It’s not glamour. It’s something quieter.
Then the quote: “Having a baby is like going to the moon, and nobody ever tells you that.” She’s on a pale blue sofa now, brown top, dark skirt, black shoes. The wall is paneled, the mood is still.
The story behind the shoot is heavier. Byrne stars in Mary Bronstein’s “If I Had Legs I’d Kick You,” a film born from diaries, cheap wine, and locked bathroom doors. It’s not horror, but it’s close. Claustrophobia, monitors beeping, motherhood stripped of polish. Byrne plays Linda, Bronstein’s avatar, and the script was built at a kitchen table in Brooklyn, word by word.
Her career has zigzagged — Troy, Marie Antoinette, Damages, Bridesmaids, Insidious, Peter Rabbit, X-Men, Mrs America, Physical, Platonic. She calls herself a “career bee.” But this film feels different. Not a crescendo, maybe, but a rupture.
The final image folds it all together. Green dress, Golden Globe in hand, smile tight. It’s not triumph. It’s survival.
Do these outfits feel like fragments of different personas, or one restless editorial voice?
