Naomi Watts wore a black draped Balenciaga gown, Cartier earrings, and opera gloves to the FX Love Story premiere at Carnegie Hall on February 3, 2026.
At Carnegie Hall in New York City on February 3, 2026 , for the premiere of Love Story: John F. Kennedy Jr. & Carolyn Bessette , Naomi Watts stepped onto the carpet looking like a single freeze-frame from a 1962 fashion editorial. Her look was full of restraint—dark, draped, controlled—but somehow not heavy. The gown is Balenciaga Pre-Fall 2026 , marked by a sharp silver halter neckline that gives way to a downpour of black fabric, falling from the collarbone in liquid folds.
No sleeves, but also no exposure. The cape-style structure wraps straight from the chest, leaving only her arms free—and even those were covered in pristine, sculpted white opera gloves . It’s both refined and slightly eerie. Was it referencing old glamour? Studio costume archive? A lost Hitchcock blonde? Maybe a bit of each. Maybe none of it.
Her hair was done in a structured wave, parted deeply. Her makeup stayed soft—no overdone lashes, no aggressive liner. Just clean lines, gentle color, and a lipstick tone that hinted. The only flash came from her Cartier earrings , part of the Reflection De Cartier line—classic, mirrored, but not overstated.
This wasn’t a trending moment or viral red carpet bait. It was fashion spoken in whispers—precise, studied, and intentional.
Amy Adams wore a tailored Khaite midi dress and Manolo Blahnik sandals for Apple TV’s 2026 Press Day in Santa Monica, California.
For the Apple TV Press Day in Santa Monica on February 3, 2026 , Amy Adams kept things sharp, tonal, and steeped in quiet confidence. Her look wasn’t buzzy—but it was memorable. A lean, inward-cut black midi from Khaite , the Minter Dress to be exact. There’s no embellishment here. Just a clean V-neckline excavated low but with structure, narrow sleeves that trail into extra length at the wrist, and a hemline that hangs just below the knee, locking in proportion.
This is silhouette over shine. Shaping with seams, not sequins. Tension in restraint. The slightly padded shoulder reads strong, but nothing feels forced. And then she grounds it: Manolo Blahnik’s Chaos sandals , in glossy black patent—thin strap at the ankle, thinner one across the toes. High but walkable.
For accessories, she went with sculptural ease: Fernando Jorge’s Stream Lines earrings , loops structured enough to read as jewelry, not distractions. Hair was center-parted, pushed back behind one ear, low bun—possibly a twist, hard to tell behind the frame. No fuss. Makeup? Bare and sunkissed. Think flushed mattes, warm tones, no sharp lines.
This isn’t a dress designed to dominate press coverage. It’s one meant to be worn like armor—unmoved, sleek, and absolutely present.
Sydney Lemmon wore a crushed velvet black slip dress with a thigh-high slit to the FX Love Story premiere at Carnegie Hall on February 3, 2026.
At the FX premiere of Love Story: John F. Kennedy Jr. & Carolyn Bessette held at Carnegie Hall in New York City on February 3, 2026 , Sydney Lemmon brought full noir energy with a single piece of crushed velvet. Her dress—a deep black, almost bronze-glinting in how it caught the camera’s overexposure—was a classic slip cut laced with quiet oddness. The cowl neckline barely hung, the bodice clinging without sculpting. The fabric did the shaping.
Thin spaghetti straps framed her bare shoulders, balancing the shine with simplicity. No jewelry on the neck. Instead, the eyes stopped at her pearl drop earrings , spaced and weighty enough to anchor the look without dragging it down. The slit—high, thigh-grazing, but held by good tailoring—added break without flash. Shoes were slim, black ankle-strap open-toe heels , barely visible beyond the gown’s puddled hem.
Beauty choices leaned severe, in the best way. Pin-straight, center-parted hair tucked behind the ears. Clean makeup, slightly sculpted cheekbone, muted lip. It felt intentional without insisting on itself. Understated edge dressed up to let the dress live.
She didn’t lean into glam. She let texture do all the talking—and walked like she wasn’t listening to anyone else.
