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.
Paris Hilton wore a deep-cut black gown with a crystal-studded waist and matching choker to the 2026 Pre-GRAMMY Gala at the Beverly Hilton.
At the Pre-GRAMMY Gala & Salute to Industry Icons at The Beverly Hilton, Paris Hilton strode into the red carpet frame looking every inch like herself—hyper-aware of the camera, stylized without apology, glamor built like armor.
She wore a black floor-length gown with a neckline that dropped until it almost couldn’t. Deep V. Plunged. But not soft—sharp lines that cut straight from collarbone to midriff with no lacework or illusion mesh to interrupt. Smooth black, maybe silk jersey or satin-heavy stretch, hugging the body like a second thought.
At the waist, things tightened and glittered. A crystal-embellished belt detail—not wrapped, but built into the dress—pulled everything inward. Like the gown was being held together by sparkle and pressure. That same effect repeated at the neck: a thick black choker encrusted with matching stones, mirroring the waist but doubling as a frame for the absence of fabric in between.
Her signature blonde hair was swept to one side and curled into glossy, Hollywood waves. No loose tendrils, no fake mess. It was brushed, curled, sprayed. The eye makeup was dramatic—full lashes, silver shimmer lids, sharp cheekbone shadow. One hand on her hip, the other just brushing against the hem. One finger extended like she was mid-thought. She knew the shot before the flash.
That’s the thing with Hilton. It’s not reinvention. It’s persistence. She doesn’t show up chasing trends—her style has always been frozen in gloss and glitter, and that’s where it’s strongest.
This wasn’t a look that begged to be seen—it simply expected it, and waited under the spotlight like it paid rent there.
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.
