Maggie Rogers wore a black Ralph Lauren tuxedo with a deep white satin lapel at the Special Evening event in Milan on February 5, 2026.
Some outfits shout. This one doesn’t. It walks in, stands tall, and lets the seams do the talking.
Maggie Rogers attended A Special Evening at Palazzo Ralph Lauren in Milan, Italy on February 5, 2026, in a brilliantly cut black tuxedo with a wide white satin shawl lapel —a look that balances cool structure with quiet drama. The suit nails it where most fail: fit. Shoulders soft but defined, lapels sharp but not theatrical, the whole thing long-line and intentionally oversized without swallowing her. There’s polish here, but no stiffness.
What catches the eye is that plunge. Underneath, she wears a white satin waistcoat that dips deep—deep enough to register as eveningwear without veering into red carpet thirst trap. It’s unbothered smarts, the kind that says masculine and feminine aren’t opposites, they just hang out.
Hair is worn down in loose, brushed-out waves that move like they weren’t over-styled. Makeup? Minimal. Just a warm flush across the cheeks and barely-there lip. She carries a structured black top-handle bag with gold hardware—functional enough to not be costume, classy enough to finish the look.
Here’s why it works: there’s nothing trend-chasing in this. Just a sharp, minimal, genderless take on front row fashion , made for a fashion house that’s built its identity on timeless tailoring. It feels like her—and that’s always what lands.
The suit doesn’t beg for attention. It earns it, quietly.
Camila Mendes wore a white Chanel tank top and black tulle skirt with gold details at the Idiotka premiere in New York on February 5, 2026.
Some outfits go for impact. This one goes for storytelling. Chanel tank, ballerina skirt, a chain dangling like punctuation.
Camila Mendes showed up at the Idiotka premiere in New York on February 5, 2026, mixing minimalism and theatre in a way that felt sharply intentional. She wore a white Chanel tank top , ribbed and cropped, with the house’s iconic interlocking C logo taking center stage. It’s punchy, on purpose—more streetwear than couture. But before you can even settle into that visual, it shifts. A high-waisted, voluminous black tulle skirt anchors everything in soft drama.
And then there’s the chain. A lounging gold chain belt , draped just off-center across her waist, drops the look into a more subversive space. Not polished. Not perfect. Something slightly off—like a borrowed idea that landed better here.
The rest of the styling keeps it smart. Hair is sculpted into retro-glam waves, tucked behind one ear. Bold earrings. Bare arms. Simple black pedicure showing through open-toe thin-strap shoes. No try-hard energy, just very specific decisions lining up neatly.
Here’s the takeaway: It’s not about matching the top to the bottom—it’s about letting them clash a bit and trusting the tension to carry. Which it does.
This isn’t a red carpet gown. It’s a red carpet moment locked in between softness and edge.
Paris Berelc wore a ruched red one-shoulder gown at the Kissing Is the Easy Part premiere in Los Angeles on February 5, 2026.
This is how you do red on a red carpet—same color family, but none of the camouflage.
Paris Berelc arrived at the Kissing Is the Easy Part premiere in Los Angeles on February 5, 2026, wearing a ruched, body-hugging red gown that’s all about line and motion. The neckline plays with asymmetry— single-strap over one shoulder , crossing the bust in structured folds that feel more engineered than draped. The fabric’s got stretch, sure, but it doesn’t fall shapeless. It holds her, defines her, and leaves nothing ambiguous.
The entire look feels sleek without being cold. That’s hard to pull off with this much structure. Her hair is long and loose, broken into subtle waves that keep the energy soft. Jewelry? Minimal. Just enough to catch flash, but nothing heavy-handed. Diamond bands on her fingers, a subtle bracelet, and done. The makeup leans glowy—flush-toned lips, strong brow, no unnecessary drama.
What actually makes it work is the tonal interplay between her dress and the red-on-pink swirl of the backdrop. She stands out without fighting it. Confidence without excess.
This isn’t a gown that needs accessories or storyline. It’s the kind that relies on posture and presence. Paris knew that—and showed up polished, exact, and completely unfussy.
