Lana Del Rey and Madison Beer attended the 2026 Pre-GRAMMY Gala in black and ivory strapless gowns, balancing quiet romance with sultry structure.
At the Pre-GRAMMY Gala & GRAMMY Salute to Industry Icons honoring Avery and Monte Lipman at The Beverly Hilton in Los Angeles, Lana Del Rey and Madison Beer turned up with two very different definitions of subtlety.
Look 1: Lana Del Rey’s Sculptural Noir
Lana, on the left, opted for near-anonymity in all black. But it wasn’t flat. Her strapless gown—likely taffeta or another structured textile—relied less on embellishment, more on shape. The bodice was fitted but not squeezed, flowing down to a drop-waist silhouette with a quiet flare that resisted drama. There was no slit, no shimmer, no sharp structure—just fabric that moved like it wasn’t in a hurry.
Hair softly waved and tucked behind her shoulders. Makeup? Very Lana. Pillowy lips in a sheer pink. Brows brushed but not sharp. She wore a thin chain necklace with a modest double-ring charm, and long red nails that blinked like punctuation marks against the monochrome dress.
It didn’t beg for attention. But it held it just the same.
Look 2: Madison Beer’s Ivory Siren Dress
Next to her, Madison looked like someone had peeled her from a 1950s cigarette ad— in the best possible way . She wore a ruched, strapless ivory gown with a sweetheart neckline, clinging like it was still deciding whether to stay on. Fabric pulled tight across the torso and hips, then broke into a daringly high slit —just above the ankle, revealing pearl-studded platform sandals. The fabric was light enough to barely hold a shape on its own, and that was the point.
Her hair was brushed out in polished waves, face glowing under soft light. A warm bronze contour, brushed brows, and a matte beige lip. Not one piece of jewelry out of place—diamond drop earrings and a single ring. Like she knew you’d be looking at the dress anyway.
Together, they didn’t clash. They balanced. One soft, one sharp. One quiet, one crafted. Both intentional.
A perfect visual duet: Lana whispered, Madison smirked—and somehow, they stayed in key.
Laufey wore a vibrant green satin gown with bow and ruffle detailing at the 2026 Pre-GRAMMY Gala honoring the Lipman brothers in Los Angeles.
At the Pre-GRAMMY Gala & GRAMMY Salute to Industry Icons held in honor of Avery and Monte Lipman at The Beverly Hilton, Laufey did what she always does—appeared like a breath of something old and something oddly fresh. She wore a structured, satin green gown in a distinctly retro silhouette that managed to feel sweet and slightly strange at the same time.
Straight-cut in the body but all drama down the front, the strapless dress featured symmetrical structured ruching and a cascading ruffle seam that ran from neckline to floor. A keyhole cutout peeked from under a centered satin bow—childlike without being naive. Deliberately kitsch. The off-shoulder strap design didn’t curve softly—it stuck out parallel to the floor, sharp and stubborn, like it had something to say.
The green? Not mint. Not neon. Just that kind of artificial apple hue you’d expect on a 1960s gelatin mold. Fabric had a slight reflective sheen—not wet but not matte either. Polished skin and neutral makeup kept it clean. Glossed lips, groomed brows, soft contour. Her hair was pulled into a classic updo, pinned with care but not fussy. A delicate chain necklace barely glinted across the collarbones.
There’s a specificity to Laufey’s style that rejects “cool girl” minimalism without diving headfirst into fashion chaos. What she wore wasn’t about edge or seduction. It was pure form. Aesthetic as joke, and maybe as compliment.
If Wes Anderson styled prom night, this is probably what would walk in and write a perfect song about it.
Tyla wore a nude crystal-embellished Dsquared2 dress with a feathered train and Paris Texas Lidia heels at the 2026 Grammy Awards.
At the 68th Grammy Awards , Tyla didn’t float in—she smoldered in motion. She arrived wrapped in a soft-gold, vintage Dsquared2 gown that landed somewhere between ‘30s loungewear and early-2000s drama. Thin spaghetti straps , a low curved neckline dusted with gold crystal embroidery, and a dotting of jewels down the body—applied almost like rainfall. Deliberate. As if each placement had a personal note.
But the real chaos—the poetic kind—was at her feet. Not literally, but from them. A dense, feathered train , pale as champagne fizz, trailed out behind her like a brushed-off sentence. She held it scrunched in one hand like it’d tried to run off and she caught it mid-rebellion. That’s where the nude Paris Texas Lidia mules came into focus—caramel-toned patent leather, steep as a whisper, with that modern arch that makes the foot look impossibly long.
Neck: stacked. Pandora’s “The Together Collier” wrapped tightly. A few rings scattered across both hands. Hair in a sculpted high ponytail—messy enough to feel lived-in, not posed. Face framed by slick-edged baby hairs and curtain-length tendrils, makeup warm and bronzy, lip somewhere between gloss and balm.
There was something off-beat about the entire pitch. Not overly polished. Not ethereal. No princess story here. Just slick, glowing effort. The kind that comes from archiving references and remixing them with bite.
A dress like this doesn’t whisper timelessness—it hisses quietly and leaves a trail of feathers like receipts.
