Katseye’s New York night after Fallon shows five members in coats, fur, leather, and casual streetwear.
After their appearance on The Tonight Show Starring Jimmy Fallon, Katseye were spotted heading back to their hotel in New York. The sidewalk was wet, barricades lined the street, headlights cutting through the night. Each member carried their own rhythm in clothes.
One walked in a long black coat, black pants, tan shoes. Two bags — a white-and-blue tote and a woven brown handbag — headphones draped over the side. Another followed in a black leather coat, jeans, pointed shoes, carrying a Fendi bag with its repeating “F” pattern.
A third chose a faux fur coat, light-colored, over a red top and cream pants. Sunglasses at night, green shoes, phone in hand. Behind her, someone in a hoodie with a can.
Then a quieter look: blue long-sleeve top, black drawstring pants, gray shoes. A puffer jacket carried under one arm, tote bag in the other. It felt more like travel gear than performance wear.
Finally, a cropped “I NY” tee under a black leather jacket with fur hood. Red athletic pants with stripes, beige boots slouched. Tote bag again, phone bright orange.
Together, the group didn’t dress for glamour. They dressed for movement. Coats, bags, sneakers, boots. A mix of casual grit and styled edges.
Rebecca Ferguson’s Harper’s Bazaar UK March 2026 shoot moves between lavender drama, sheer grit, cream softness, and blue satin calm.
The March 2026 issue of Harper’s Bazaar UK opens with Rebecca Ferguson standing on a vintage couch, lavender gown voluminous, strapless. Background teal, headline sharp: “Ready for Action.” It feels staged but alive, like a pause before movement.
Another frame shifts tone. She’s against teal drapery, yellow circle behind. Outfit layered — red undergarment, gray deep-neck top, sheer black skirt patterned with florals. Hair loose, shoulder-length. The contrast is strong, backdrop and clothes pulling against each other.
Then a softer image. Seated on yellow-patterned surface, robe cream-colored tied at waist, pink tulle skirt layered underneath. Shoes pointed, straps black. Walls distressed, wood exposed. She holds sheer fabric in one hand. The setting feels worn, clothes delicate.
Finally, a blue satin outfit. Reclined sideways on a frayed armchair, upholstery yellow-brown, background dark teal. Arms resting, head turned. The fabric shines, chair muted. Luxury pressed against decay.
Together, the spread doesn’t chase glamour. It leans into contrasts — lavender, sheer, cream, blue. Each outfit feels like a different note, stitched into one restless editorial rhythm.
Charlotte Hawkins wore a red and silver floral sequin mini dress with gold heels at the TV Choice Awards 2026 in London.
At the TV Choice Awards 2026 in London, Charlotte Hawkins stepped onto the carpet wearing a mini dress that felt built for a night out, not a slow-motion reveal. The piece is straight-cut, no frills, but fully dressed in high-shine floral sequins —reds, silvers, bronzes—pressed into a tight botanical grid across a sheer-neutral base. The effect? Immediate. Flickering. Someone dropped a disco ball into a flowerbed.
The silhouette isn’t asking for drama—it’s short, capped sleeves, no plumes, no excess fabric. But the surface work does all the talking. It’s not exactly subtle, but not jokey-camp either. More like: “Yes, I wore the one dress in the wardrobe that actually glimmers when I move.” There’s an ease to it. No visible jewelry overload, just a soft bracelet, manicured fingers, and hair relaxed in soft shoulder-skimming waves. Almost like Hawkins gave the glam team a 45-minute cap and told them to skip the contour palette.
The styling holds: gold pointed heels —patent finish—blunt, firm, and functional. Not sky-high stilettos. These won’t sink into carpet piles or wobble in photo calls. Smart.
In the broader sea of red carpet fashion , especially at a TV-centric event that leans cozy rather than couture, this kind of look hits a sweet spot—festive, unfussy, just enough flash to earn a camera pan.
It’s the kind of dress that chooses joy over polish, light over structure. And it works because it doesn’t beg for justification.
