Lili Reinhart wore a textured burgundy gown with a sweetheart neckline and matching peep-toe heels at SCAD TVfest in February 2026.
At the 2026 SCAD TVfest in Atlanta, Lili Reinhart stood calm and wine-toned against a black-and-gold backdrop—Spotlight Award trophy in hand, posture set like someone who’s been here before, but still appreciates the moment.
She wore a deep burgundy gown , close-fitted through the body in a matte textured fabric. Not sparkly. Not floaty. Something almost jacquard, or lace backed by structure. It hugged the frame straight down with slight flare at the hem—not dramatic, just enough to let it move. The neckline carried everything: slightly off-the-shoulder, molded into a soft sweetheart curve , edged with scallops and tiny gathers that added visual lift without over-designing.
Footwear was color-matched burgundy peep-toe heels , barely peeking under the hem, just enough height to keep everything elevated. Accessories? Minimal. One cocktail ring, low-key manicure to match the dress, and no visible bag. Hair pulled back into a soft twist or bun (the back isn’t visible, but it’s not loose), clean with a few flyaways—natural on purpose. Skin looked fresh, blush high, brows brushed and held in place. No shimmer overload. Just enough highlighting to catch the lens without catching too much attention.
She didn’t layer on fashion. She wore something that stays close, feels confident, and leaves space for the actual moment. No hard lines. No high gloss. Just quiet texture and a dress that understood where it needed to stop.
Addison Rae wore a customized Poster Girl dress adorned with money motifs at the Sony Music Group Grammy after-party in LA, February 2026.
At the Sony Music Group Grammy Celebration in Los Angeles on February 1, 2026, Addison Rae walked into after-party territory and skipped subtlety entirely. What she wore wasn’t a nod to pop excess—it flat-out was pop excess.
Her look? A customized Poster Girl “Invisible” dress —a translucent fitted body sheath with pink lingerie straps and glitter resin shine—and scattered all over it: fake $100 bills. Crinkled, clumped, staged bills. Tunneled into the bustline and frilled around the hem like busted corsage petals. Some tied up with glossy pale green ribbon. Others just hanging, like they’d been seized mid-toss in a strip club hurricane.
The base itself is the brand’s signature: ultra-stretch mesh that wraps the body like breathable plastic. No defined cups, no waistband, just that second-skin cling. And yet the choice of material doesn’t overpower the theme—the money details pull hard focus. She paired the look with a massive cocktail ring —bubblegum pink, size-of-a-nickel—chunky and gaudy in a way that makes perfect sense here.
Makeup played it safe: clean skin, a glossed lip with enough pink pop to echo the satin straps. Her hair stayed down, parted, flirt-curled—classic Addison. She smiled wide, like someone who knew this wasn’t elegance and didn’t care in the least.
From a distance, it reads like irony. From up close, it’s just staging. Rae’s look wasn’t about fashion nuance—it was a wink, a joke, a strip-mall fantasy rerouted through high fashion absurdity.
Ella Mendelsohn wore a plum button-down, mid-wash jeans, and black pointed boots to the Good American Fall 2026 preview in New York City.
At the Good American Fall 2026 Preview in New York City on February 3, Ella Mendelsohn showed up looking like she walked straight out of a cool-weather mood board. Firelight behind her, denim underfoot, she nailed that in-between zone: not dressed up, not careless—just confident.
She wore a plum button-down shirt , slightly oversized, sleeves loose, collar open to the second button. The fabric looks like lightweight cotton or brushed twill—matte, lived-in, with just enough structure not to collapse. It’s tucked casually into a pair of mid-wash straight-leg jeans : clean, not distressed, the kind with a real waistband and a silhouette that nods vintage without parodying it.
Footwear: black pointed-toe boots , probably leather. Slim profile, sharp toe—strong enough to ground the softness above, subtle enough to stay out of the way. She kept accessories minimal: gold rings on one hand, and what looks like a small shoulder bag tucked just behind her arm.
Hair worn down in gentle waves—center-parted, slightly glossy, not flat-ironed to death. Makeup natural but defined: warm-toned blush, brushed brows, and a neutral gloss that finishes it without tipping it into “done.”
This wasn’t a fashion show guest trying to steal thunder. Mendelsohn showed that sometimes presence doesn’t need punctuation—it just needs a good shirt, a fire, and self-assured shoulders.
