Kehlani wore a sheer black beaded Valdrin Sahiti gown with a center cutout to the 2026 GRAMMY Awards at Crypto.com Arena in L.A.
At the 68th GRAMMY Awards on February 1, 2026, held at Crypto.com Arena in Los Angeles, Kehlani walked the red carpet in a look that toed the line between architectural and undone. Her gown, a custom Valdrin Sahiti design , was technically dressed to smolder—but the restraint came in its structure. This wasn’t just sexy. It was sculpted .
Titled “The Black Bloom Dress,” the piece floated down her body like a veil of beaded shadow. Held aloft by a single halter string , the neckline plunged in a bold vertical cutout that ran from clavicle to just above the waist, exposing bare skin framed in scalloped beading . Rows of hand-sewn embellishment curled in embroidery-like formations, creating peaks, valleys, negative space.
The sheer fabric —intentionally see-through by design—was paneled with bursts of dense black applique, forming a visual rhythm of coverage and exposure. Up close, you notice the micro beading: layered, textured, twitching when she moved. It’s not sparkle. It’s shimmer with structure. The central bodice cutout , bordered in clustered crystals, reinforced the tension between frame and fluidity.
She styled the gown minimally. Just black strappy heels , subtle rings, and small stud earrings . The tattoos on her shoulders and arms played an intentional part of the look—visible through the mesh, almost working like part of the print. Hair fell long and waved with a side part, set loose to offset the tension of the gown’s silhouette. Breezy, but not casual. Makeup stayed clean: strong highlight, a warm eye, defined lip. No drama—except the dress.
Kehlani didn’t just wear the dress. She let the dress behave like smoke—and walked right through it.
Olivia Dean wore a checkered scoop-neck sequin gown at Spotify’s 2026 Best New Artist Party in Los Angeles, California.
At Spotify’s Best New Artist Party in Los Angeles on January 29, 2026, Olivia Dean appeared in a look that split the difference between retro print and red carpet shimmer. Her dress? A full-length, subtly sculpted gown with tiny straps and a mindful stillness.
The first thing that lands is the fabric —checkered, not loud, but slowly revealed by light. Think navy base, overlaid with iridescent sequins that catch as much as they mask. It’s bold in silhouette but soft on impact. A strange, low-key confidence in a world stuffed with crystal corsets and corsetry for its own sake.
The neckline? Wide scoop, squared at the collarbones , leaving her décolletage unobstructed, bare except for a small gold necklace . Her arms defined, posture relaxed. The dress tucks at her waist with natural drape—no boning, no built-in hourglass pressure. Just fabric doing what it wants to do.
Accessories stay minimal. A pair of hoops , the aforementioned pendant, and no clutch in sight. Her hair was worn old-school glam: soft waves, side-parted. Glossy, but not overly shellacked. The vibe was controlled, never stiff. Her makeup followed suit: glowy base, tiny flick at the eye, matte lip in a neutral tone.
It’s not a loud look. It’s a designed hush , an outfit that breathes and waits for you to focus. No high slit, no plunge, no bell sleeve or bustle. And that’s exactly why it stood out.
You don’t expect a gingham illusion to win the room—but here we are.
Cynthia Erivo wore a rich brown ruched Balenciaga gown with sculptural feather accents to the 2026 Critics’ Circle Film Awards in London.
At the 46th London Critics’ Circle Film Awards on February 1, 2026, Cynthia Erivo showed up looking like power condensed—still, sharp, detailed. Her custom Balenciaga gown , in deep tobacco brown, didn’t lean into theatrics. Instead, it folded tension across her body with soft, directional ruching, and let the lines do the talking.
The material is sheer but weighted. Hand-ruched silk climbs all the way up—no straps, no neck detail, not even a visible seam break. Just a strapless tube that sculpts around her torso, pulls at the sides, gathers just enough at the hip. Then out of nowhere— sculpted feather accents , like pincushioned armor flaring from her hips. Deliberate. Slightly strange. Slightly genius.
The bottom doesn’t balloon or break loose. It just results—a slow spill into a cropped mermaid hem with a light, breezy train tailing the carpet. The color—brown, not bronze, not chocolate—feels unusual but lived-in. Organic, like dirt, like mulch, like evening air in a city park that’s been rained on. And that’s rare.
Accessories stayed tonal and tight. She wore multiple MARLI rings , tiled up over long almond-shaped nails done in a neutral buff finish. On her ears—a mix of MARLI’s diamond Cleo huggies and drop earrings , shimmering like whispers under the flash. And let’s not skip the shoes: Christian Louboutin’s brown satin Cassia pumps , sharp as a sneer.
Hair slicked back into a clean shell. Face controlled—cool-toned, contoured, zero gloss. But the look? Full heat.
A gown that doesn’t want the spotlight, only the gravity it creates.
