Kylie Cantrall wore a black mini dress with metallic embroidery and layered ruffles at Republic’s Collective Artist Reception in Los Angeles.
At the Republic Collective Artist Reception in West Hollywood, Kylie Cantrall wore a dress that didn’t need volume to make noise. A black mini with asymmetrical ruffles , cut on the bias with just enough chaos to keep things moving. Texture on texture.
What made it pop was the embroidery: metallic florals in silver, dusty gold, moss green — all done in an old-world tapestry style, but sharper, more condensed. Like the hem of a 15th-century scroll made into night-out fabric. It curved with the shape of the dress, giving the silhouette some motion even when still.
Straps were thin. Bodice slightly ruched. The bottom half bloomed out in raw-edge flares, layered like fallen leaves — unlined, dizzy detailing without feeling overstuffed. A chaotic rhythm that felt styled, not thrown together.
Necklaces layered tight — silver and choker-adjacent, enough to catch but not dominate. Her manicure? Wild. Long acrylics in crimson with black detailing, gothic and graphic, extending the edge of the look clean through her fingertips like punctuation.
Chappell Roan wore a sheer tattered gown with gothic beadwork and shredded lace during her onstage appearance at the 2026 Resonator Awards.
The gown was chaotic in the best, most specific way. A sheer base in smoke-grey tulle and cream was torn up with trailing black lace panels, unraveled hems, deliberate mess. Strips of fabric swung loose like inked parchment disintegrating mid-spell. The top half, more structured, hugged her torso in a corset-style shape with high shoulders and glossy jet-black beadwork , dripping in messy vertical embellishments that caught the light unpredictably.
The neckline climbed high but didn’t feel conservative — it felt defiant. Gothic but not costume. Dramatic but alive. The exposed arms, her tattoos in full view, added a layer of intimacy, grounding the look harder in the now.
Hair: a voluminous red updo, curled and pinned like modern cabaret chaos. Warrior-princess meets art school insomnia. Footwear? Black lace-up heels — cut-out caged stilettos that looked like they’d been dragged through a midnight forest and came out sharper. If you blinked, you missed how much of the dress was working against itself in harmony.
Chloe Bailey wore a red halter mermaid gown with lace corset paneling at the Go Red for Women Concert in New York City, 2026.
On the carpet at the American Heart Association’s Go Red for Women event in New York City, Chloe Bailey didn’t just show up in red — she redefined it. Hard satin glistened under camera flashes, stretched tight across a sculpted halter gown that looked part armor, part liquid light.
The top? A plunging neckline cut down low, framed by wide halter straps gathering high on the neck. Beneath the bustline, structured corset-style lace paneling revealed dimensional peeks of skin — equal parts bold and delicate. Boning defined the shape, but the sheer fabrication softened it. That tension gave the look its heartbeat.
The skirt shifted tones slightly from the upper bodice. A deeper red-mesh overlay with micro-shine caught in the fabric’s movement flowed into a subtle mermaid silhouette , hugging the hips before falling into a slight flare. Not dragging dramatically, not cut short — just long enough to feel grounded.
She paired the look with slim red sandals , a minimalist counter to all the corseted heat above. Curl-defined hair swept back with a clean center part sat effortlessly down her shoulders. Gold hoops gleamed just enough; her fingers stacked with a few delicate rings. Nails: black, pointed, sharp enough to hold a mic or a threat.
