Kylie Cantrall wore a black leather top with oversized buckles and a fitted skirt at the 2026 Grammy Afterparty in Los Angeles.
At the Universal Music Group’s 2026 Grammy Afterparty in Los Angeles, Kylie Cantrall pulled up in full femme control mode. Her look? A blend of mall goth fantasy and mod discipline—deliberal, dark, defiant.
She wore a structured black leather bustier-style top , punctuated with three massive chrome buckles that bound the center in uneven tension. The top wrapped across her chest, pulling slightly at asymmetric seams, then dipped into a molded peplum hem with barely a wink of midriff exposed. Above the top’s bondage logic, one off-shoulder panel dropped diagonally. A single rebellious strap, like the last part of an unfastened seatbelt.
Paired with a sleek black pencil skirt , the silhouette stayed grounded. No ruffles, no slick asymmetry—just something tight and straight to anchor the drama. Her shoes—sharp, black, pointed-toe heels with architectural side cutouts—carried the look with silent bite. They mean business without noise.
Hair was parted down the center, pulled back into two pigtails with red-dipped streaks cascading through the bottom half—almost cartoonish, in that very online way. Her makeup was striking: a frosted berry-toned lip, high blush on the cheeks, bold brow, and fine-lined eye, with mascara doing the real flex work.
Statement silver earrings filled in the negative space at her temples—circular clusters with dangling shine that bounced under the soft party lighting. No visible clutch. No distractions. Just a girl and her sculpted leather, framed by conversation-starting details.
The fashion verdict ? Bold, measured, confrontational. Kylie didn’t dress for applause—she dressed like the best table was already waiting for her.
Judy Greer’s Numéro Netherlands shoot moves between fringe leopard print, sculptural jackets, red ribbons, patchwork denim, and a white suit.
In Numéro Netherlands’ February 2026 issue, Judy Greer shifts through five outfits that feel more like moods than polished statements.
First frame: leopard print, long fringe trailing from sleeves and hem. Black tights, heels, hair loose. The motion is the point — fringe catching light, body cutting through shadow.
Second: a black asymmetrical jacket, shoulders exaggerated, neckline deep. White cuffs peeking out, tights and pointed shoes grounding it. The pose is statuesque, almost rigid, but the hair softens it.
Third: red full-body look. Sleeves long, pants extended, fabric ribbons flowing behind. Against the black backdrop, the red feels louder, almost too much, but the tilt of her head makes it calm.
Fourth: patchwork denim, wide legs flaring, stitching visible. Voluminous sleeves on the top, belt tied at the waist. One arm raised, tattoo visible. It’s retro, but also restless.
Fifth: white suit, structured shoulders, deep neckline, wide trousers. Hair wavy, headpiece balanced with fruit and leaves. It’s playful, almost absurd, but the frame makes it feel deliberate.
Together, the spread doesn’t flatten her. It lets her shift. Fringe, structure, ribbons, denim, fruit. The shoot wasn’t about one look. It was about letting each outfit carry its own imperfect rhythm.
Devon Lee Carlson wore a sage green slipdress with lace trim and white pointed heels to the 2026 Grammy Afterparty with W Magazine.
At the W Magazine, Charli XCX and Saint Laurent Grammy afterparty held at Bar Marmont on February 1, 2026, Devon Lee Carlson made an intentionally undone statement in a look that smirked at the usual event appearance expectations. Think lingerie-daydream meets fashion cynic with a cocktail in the other hand.
She wore a pale sage green slipdress with adjustable spaghetti straps and taupe lace detailing around the neckline and hem—purposely wrinkled, drawstring cinched at the waist, and ever so slightly sliding into off-balance energy. The asymmetric hem drifted just above the knees, edged in aged lace that winked more thrift haunt than haute couture.
Her white pointed stilettos sharpened an otherwise slouchy look, elongating the legline while fighting the softness of the fabric. On her arm? A deep brown half-moon leather bag , round and bulky in contrast to the fluttery silhouette—another gesture that says she didn’t come here to conform. Dark tights underneath the whole thing sealed the “night out at Bar Marmont” intent.
Dark wavy hair tucked behind one ear, center part loose and low-maintenance. And the oversized black sunglasses —worn indoors—pushed the whole look into ironic territory. It’s not that she doesn’t know it’s a pajama dress. It’s that she’s daring you to call it one.
The fashion verdict ? It’s not polished. But that’s the point. Devon weaponizes the half-dressed aesthetic to remind us that done-up and dressed-up are not the same.
