Liamani Segura wore an embellished mini dress with matching boots on the red carpet at Universal Music Group’s Grammy After Party on February 1, 2026.
At Universal Music Group’s 2026 Grammy after party in West Hollywood, Liamani Segura leaned into full-color confidence—and she didn’t hold back. Her mini dress , done in a saturated pink and navy brocade , was embroidered from top to hem in gemstone appliqués, metallic scrollwork, and intricate baroque failings that would’ve swallowed a quieter look entirely.
But this wasn’t built for “quiet.” The silhouette was simple— boxy shoulders, sculpted waist, sharp hem —letting the texture go wild while the structure held tight. The neckline stayed modest with capped sleeves and no plunge. Her legs? Fully visible and booted , in matching knee-high fabric boots that locked the print in from head to toe like exclamation points on legs.
Hair swept up in a high updo, with a soft wave curled loose around one side. Her makeup stayed within the outfit’s playbook: rich berry lipstick, flushed cheek, pink shimmer on the lid to highlight the gems without competing with them.
It was the kind of look that doesn’t dress for the flash—it builds its own damn lighting. Like she walked out on the red carpet carrying her own chandelier.
Selena Gomez wore a Susanna Chow shearling coat with a Valentino bag and glossy hair bun in her Instagram Story on February 2, 2026.
In a quiet but effective Instagram Story from February 2nd, 2026, Selena Gomez gave us a look that felt more cinematic than social. No filter frenzy, no overly rehearsed lighting. Just a mirror. A moment. A coat.
The star of the frame? That voluminous black shearling coat , confirmed as the Dorothy by Susanna Chow —oversized, feathery, maximalist in texture but minimal in sharpness. It looks like it might swallow her whole—and she lets it.
Crossbody and slightly angled was her Valentino Vain VLogo top-handle bag , the gold logo barely catching the warm bathroom light. A rose in one hand. Phone in the other. Gold ring slipped onto her pointer finger. Her hair sleeked back into a tight bun , ears untouched by accessories, face bare except for a wash of berry gloss and gently defined brows. Clean. Easy. Like she’s done this a thousand times and doesn’t need to prove it.
The whole thing feels like stolen luxury. Like getting dressed to go somewhere and staying right where you are. One rose, two textures, and a mirror—no words necessary.
Peja Anne wore a strapless nude gown with silver crystal detailing at the Grammy 2026 after party in West Hollywood on February 1.
At the “A Toast To Music” Grammy Awards after party in West Hollywood on February 1st, 2026, Peja Anne stepped onto the red carpet looking like she’d walked straight out of a champagne flute. Head-to-toe sparkle, but never loud. Just that kind of muted shimmer that hits better under camera flash than daylight.
Her dress? Strapless, nude illusion , with a sweeping sheer base covered in arcing silver crystal embroidery . All swirls, curves, and star trails that pulled everything upward toward a sharply detailed bustline. The fit was skin-close. No flare. No weight. Just a vertical movement down to the floor that looked like it might disappear if you blinked too quickly.
Hair styled in soft, brushed-out waves. Makeup leaned warm—glossy berry lips, rosy cheeks, a subtle glow across the cheekbone. No chunky earrings, no clutch, nothing dangling—intentional restraint that let the gown hold center court. She understood the assignment: red carpet , but with precision .
And it worked. The whole thing felt weightless but targeted. Like she hadn’t overthought it. Just a girl in crystals, ready to dance if someone handed her a mic—not a martini.
