Madison Beer wore a Marmar Halim pleated ivory gown with a thigh-high slit and Jimmy Choo heels at the 2026 GRAMMY Pre-Gala.
At the Pre-GRAMMY Gala & Salute to Industry Icons honoring Monte and Avery Lipman on January 31, Madison Beer appeared in a gown that breathed more than it posed. No gimmicks. No sequins. Just shape, light, and skin.
She wore a pleated silk capelet gown by Marmar Halim , soft-structured and ivory-toned, gathered tightly at the waist and released into vertical folds that dropped down with ease. The strapless bodice was folded in semi-sweetheart fashion — nothing too armored, nothing falling. Just firm enough to hold its own against the curve of her frame.
The thigh-high slit was cut high and direct, exposing the full length of her left leg without looking like a challenge. It made room for a pair of Jimmy Choo Rosie MM heeled sandals , tied in a subtle bow detail. A red carpet fashion moment that didn’t scream. It smiled. Slightly.
Hair was worn in classic brushed curls, parted off-center for retro effect — movie premiere, 1964 energy. The makeup: soft rose cheeks, calm nude lip, brushed-up brows. Jewelry included small diamond drops and delicate rings, nothing that pulled you away from the fabric’s movement.
Some dresses talk. Madison’s whispered — and you still leaned in to hear every word.
Alexandra Daddario wore a strapless navy mini dress with ruffle detail and classic black pumps to the Fall 2009 G-Star RAW show in New York.
At the G-Star RAW Fall 2009 show on February 17 at the Hammerstein Ballroom in New York, Alexandra Daddario stepped into a denim-centric fashion experience in a look that veered feminine, crisp, and charmingly unaffected.
She wore a strapless navy dress , cut just above the knee, with subtle boning in the bodice and lightly gathered volume at the waist. The fabric — matte cotton or a lightweight blend — held its structure without stiffness. No fuss, no corsetry. The standout feature came from the left side: a vertical cluster of tiered ruffles , not dramatic or over-styled, just enough to break the clean line and add movement.
On foot: rounded black pumps with a low-profile platform and flattering curve. Very 2009, in that unshiny, practical way. She paired it all with a black patent leather handbag , small and structured, hanging from her wrist. Jewelry was limited to a thin bangle bracelet and a delicate chain at the collarbone — blink and you’ll miss it.
Her hair? Loose and long. Slight wave, center part, natural. Makeup leaned soft: clear skin, a whisper of blush, and mascara just enough to underline those blue eyes.
Was it a fashion moment? Not exactly. But it served what early New York Fashion Week did best — approachable cool.
Dove Cameron wore a draped satin Georges Hobeika gown and carried a sculptural silver clutch to the 2026 Pre-GRAMMY Gala in Beverly Hills.
At the 2026 Pre-GRAMMY Gala and GRAMMY Salute to Industry Icons honoring Avery and Monte Lipman on January 31, Dove Cameron walked the Beverly Hilton red carpet looking like she had floated in from a fresco. The dress didn’t just drape — it descended.
She wore a blue satin evening gown from Georges Hobeika , styled with off-the-shoulder ruching that cocooned around her neckline like smoke. The folds twisted down her torso and waistline in effortless motion, broken only by a sharp waterfall of fabric falling from the hip and pooling at her feet in a soft train. A cinematic fabric moment, but with a sober attitude — no shimmer, no crystals, just tactility.
She held a sculptural silver clutch , somewhere between jewel and weapon — weighty, spherical, unexpected. Jewelry stayed low: stacked rings and small earrings barely catching light. Her nails were pale, her styling minimal.
The hair? Glossy, center-parted, straight with slight bend at the ends — not trying to hold attention. Eyes rimmed in icy shimmer. Brows lifted. Skin like candlelight. She didn’t wear boldness. She wore presence.
Some dresses shapeshift. Dove’s simply hovered. And then disappeared.
