Laura Dave wore a chocolate turtleneck sweater with matching wide-leg trousers at Apple TV’s Santa Monica Press Day in February 2026.
At the Apple TV Press Day in Santa Monica on February 3, 2026, Laura Dave walked into the softly lit space looking like she brought her own quiet. Head-to-toe brown. Not flashy. Not styled within an inch of its life. Just comfortable, real. She wore a chunky knit turtleneck sweater in a warm chocolate tone—loose enough in fit to look lived-in, but firm enough to avoid slouchiness. The sleeves hung slightly long, bunched around the wrist, like she’d maybe pulled them down impulsively in a cold room.
On the bottom, slightly shinier wide-leg trousers , still in that same tonal world. Dark brown, soft drape, no belt. Nothing tucked. Shoes weren’t fully visible, but the hem skimmed the carpet, settling without a crease. Hair tucked gently behind the ear, parted softly.
No earrings shouting for attention. No bag. Just a small silver ring. She didn’t dress for the camera—but that’s what made this event appearance feel grounded.
In a sea of curated press-day polish, this look breathed like real clothing worn by a real person.
Karolina Wydra wore a black ribbed dress with fringe cuffs, hem and belt detail for Apple TV’s Press Day in Santa Monica, February 2026.
At Apple TV’s Press Day in Santa Monica on February 3, 2026, Karolina Wydra showed up in black—but it wasn’t the usual. No sparkle, no sharp shoulders, no overkill. Just a long, fitted ribbed knit dress , full sleeves, and the quiet kind of structure that doesn’t beg for lighting. The dress held close to the body—not clingy, just full-formed—and dropped all the way to the ankle where a moody fringe burst out at the hem. Same story at the cuffs. Layered, a bit scruffy, kind of like feathers gone matte.
A black leather belt wrapped tight across the hips and dropped a blunt tassel down her thigh—horsehair-thick, almost surreal. Pointed black pumps beneath, barely visible. Her expression? Calm, like she was five thoughts ahead. Hair chopped just past the chin, parted in the middle, brushing in near-symmetry. No jewelry drama. Everything else pulled back.
Not trying to take over the room—but definitely not invisible either.
It felt like someone made minimalism wear a darker grin.
Zoe Bleu wore a sculptural gothic-inspired corset dress with trailing lace at the Dracula premiere in Hollywood on February 3, 2026.
At the Dracula premiere on February 3, 2026, held at the TCL Chinese Theatre in Hollywood, Zoe Bleu showed up with a look that made the red carpet feel like the backstage of an overgrown Victorian opera hallucination. The dress —if “dress” is still the right word—was a structured body-piece with exaggerated hips, pearl and bone tones, and corseted false rigor. The material veered between lace, mesh, satin illusion and sheer daring. Flared ruffles framed the hips. Metal details (yes, on the bodice) curved and gleamed like medieval chainmail reimagined. Shoulder caps curled up rather than down.
There were long white train fragments—more decorative residue than function—trailing behind, dragged along like torn wedding streamers. Her heels? Sculptural too. High. Layered in tattered white texture, with anklet-style chain straps adding a sharp metallic break. Legs bare, skin pale, makeup low in color but high in contrast. Rosy coolness around the eyes, almost too delicate. Wet waves in the hair—blunt part, no pretense.
It didn’t try to be edible fashion. It was strange. Theatrical. More performance object than wearable. A little haunted, but that might’ve been the point.
In a red carpet sea of tasteful gowns, Bleu’s look wasn’t crafting a moment—it was undoing one.
