Miley Cyrus wore a Celine leather jacket and loose black trousers at the 2026 Grammy Awards red carpet in Los Angeles.
At the 68th Annual Grammy Awards on February 1, 2026, Miley Cyrus delivered a departure from red carpet conventionality. Wearing Celine Spring 2026 , she arrived in a structured black leather jacket adorned with a surrealist gold dragon and crescent moon brooch that nearly devoured the collar. Beneath, a crisp white shirt spilled out neatly at the cuffs, giving controlled disruption to the jacket’s harsh lines. Her black tailored pants were generously cut with a dropped rise, creating volume and softness that contrasted against the slick finish of her patent leather Celine Judy Triomphe pumps . Tucked beneath barely-there hems, the heels remained mostly hidden, whispering polish rather than shouting it. A pair of Celine Triomphe 01 sunglasses added blunt anonymity—armor masquerading as accessory. Black leather gloves , finished with Pomellato Iconica jewelry , sealed the look’s off-kilter propriety.
There’s a certain mood lingering around this outfit that fits how people are navigating red carpet fashion lately—dress codes without rules, formalwear without formality. The high-gloss leather, the defiant brooch, the tucked-in shirt and oversized pants—it’s the aesthetic of rockstar fatigue worn with deliberate poise. And for someone like Cyrus, who’s made her career out of showmanship and reinvention, this felt more like calculated dishevelment than genuine rebellion. She’s not unpredictable anymore—she’s strategic. And the strategy is working.
The fashion verdict ? The look walks a difficult line, not quite pretty and far from subtle—but that’s exactly why it lands. The brooch, though chaotic, becomes crucial. It transforms the leather jacket from polished item to visual statement, hovering somewhere between grotesque and iconic. The fit of the trousers, baggy but neat, avoids the messiness of droopy silhouettes we’ve seen elsewhere this season. And while Celine isn’t always known for costume flourishes, this ensemble somehow channels both Parisian restraint and maximalist provocation. It’s fashion as fencing—measured, confrontational, and entirely dependent on precision.
Shania Twain wore a fitted zip-up black dress and knee-high suede boots at the UMG 2026 Grammy After Party in Los Angeles.
At the Universal Music Group 2026 GRAMMY After Party in Los Angeles, Shania Twain walked the black carpet in a look that felt as straightforward and intentional as a closing chorus. She wore a fitted black zip-up dress with long sleeves, a modest collar, and a front slit that fell just above the knees. Unzip the top portion and it turns suggestive — a low plunge not overly exaggerated, just enough to catch light and breathe. It’s an outfit with no tricks. No sequins, no flourishes, no stylists pulling at boning in the back. Just structure and calm intention.
Her footwear: classic black suede knee-high boots with a rounded point and decent heel, grounding the dress in slight edge. She kept accessories minimal — hoop earrings, a cocktail ring, nothing clamoring for attention. Hair was loosely styled, layered waves with a bit of root lift — not over-sprayed, not underdone. Makeup warm and glowy. Nothing costume-y.
In a season stuffed with cartoon silhouettes, this felt real. The kind of dress you could actually move in. The kind of boots you put on when you don’t feel like performing for the camera but still want to feel tall. There’s something to be said for a woman at a post-awards party not trying to outshine stage lights. No look-at-me neon, no precarious corsetry. Just something zipped, sensible, and still sharp.
The fashion moment here isn’t in drama — it’s in restraint. The outfit reads like a quiet refusal to chase glitter in a room full of people sprinting toward it.
Zuri Hall wore a red faux reptile-textured two-piece gown with a peplum waist to the 2026 GRAMMY Awards in Los Angeles.
At the 68th Annual GRAMMY Awards on February 1, 2026, Zuri Hall stepped onto the red carpet in something that didn’t shimmer or drip. It gripped. Her red faux reptile-textured gown , molded close to the body, delivered a look grounded entirely in tension—structured, high-gloss control matched with quiet edge.
The gown is two-piece, but not conventionally. The top half is corset-built , with vertical boning and a peplum flare that juts the hip line down and away—almost sculptural. No plunging neckline, no side cutouts. The silhouette keeps it tight up top and cone-like through the lower torso. The texture, close up, mimics alligator skin—each scale outlined and glossed, adding shine without sparkle.
The skirt portion falls column-straight , echoing the texture, slowly widening toward the hemline in a subtle fishtail kick. There’s no slit, no high-low trick. It moves stiff but deliberate. Think fashion armor—not heavy, but unyielding.
She paired it with thin strappy red heels , open-toe, barely visible above the last ridge of the hem. Jewelry stayed minimal: a polished diamond necklace , bracelet, and just enough rings to check the box. Her nails were almond-shaped, glossy nude. She didn’t overdo it. She let texture speak.
Hair was big—tight coils blown out into a soft ombré halo , fading from chestnut to honey. The look needed that volume. Makeup leaned burgundy, with a waterline smoky eye, flushed cheek, and matte lip. All set to smolder without the siren signal.
This was never about catching light. This was about casting shadow.
