Narinder Kaur wore a white sequin cutout dress with balloon sleeves at the TV Choice Awards 2026 in London.
At Hilton Park Lane in London , Narinder Kaur appeared at the TV Choice Awards 2026 cutting a bold silhouette in a pristine white ensemble with late-night glam undertones. Her dress—cut from subtly shimmering white sequin fabric —features a plunging V-neckline, dramatic bishop sleeves , and an artful midriff cutout anchored by a large circular embellished clasp. The fit is body-skimming but not overly tight, ending around mid-calf, and complemented by transparent high-heeled pumps that add barely-there structure. A pair of bold crystal hoop earrings and dark-polished nails round the look off with just enough edge. This is red carpet fashion built for flashbulbs, minus the fuss.
There’s a lived-in joy here—something distinctly early-2000s but stripped of excess. The sparkle reads less cocktail-glam and more like Nora Ephron-on-Holiday: fitted, punchy, and self-aware. It hints at red carpet nostalgia without leaning into costume, especially in an era where quiet luxury often smothers personality. At an event like TV Choice—celebrating broad appeal—this look leans into exactly that: the visual optimism of shows you’ve grown up with.
The clarity of this look lies in its silhouette control. The plunge-cut bodice paired with exaggerated sleeve volume injects theatricality, but it’s the centered jeweled ring—anchoring the otherwise exposed midsection—that delivers the architectural discipline needed to prevent the outfit from collapsing into excess. There’s a sharp understanding of proportions at play. What might seem like dramatic flair at first glance is, in fact, a carefully controlled calibration of volume and curve. Its restraint is what makes it so memorable. The hem sits clean, the sequins catch light without veering gimmicky, and the choice of sheer heels maintains elongation without competing for attention.
Denise van Outen wore a black textured high-neck mini dress and leather knee-high boots at the TV Choice Awards 2026.
At the TV Choice Awards 2026 in London, Denise van Outen arrived in a black outfit thick with texture and attitude. There’s something decisively nocturnal about the look— gothic-lite , if we’re giving it a name. The dress is sleeveless , high-neck , and layered in what looks like a brocade or jacquard fabric—dark with hints of metallic weave peeking through. The hemline is uneven and raw-edged, ending around mid-thigh. There’s no splashy embellishment, just controlled chaos in the fraying lace trims and broken symmetry.
She grounded it with over-the-knee black leather boots , matte and structured, adding heaviness to something that could’ve easily gone floaty or theatrical. A small black clutch with a quilted texture —not obviously branded but Chanel-adjacent in feel—anchors the accessories. On her wrist: a coiled mess of chunky stacked bracelets , metallic and tangled like overheard subway chatter.
What’s nice about this look is its refusal to overdress for the red carpet . It’s not “haute couture.” It doesn’t need to be. It’s fast—slightly off-kilter—and aware of its own contrast. You could call it biker-bar elegance if you needed a label. But really, it’s just a woman in control of her references.
There’s a softness in her platinum-blonde bob , pulled back but not stiff—stray wisps escaped around the ears. Makeup stays minimal—just a clean finish and a neutral lip. No drama, except in cut and boot.
The smart rebellion here is in choosing texture over shine, shadow over sparkle. It lands without screaming for attention.
Chantel Jeffries wore a deep violet satin midi dress with a plunging neckline and silver strappy heels at Casa Velocity Black in Los Angeles.
Inside Casa Velocity Black in Los Angeles, away from the crowd noise and closer to the mirrored walls, Chantel Jeffries stood steady—right hand resting on beige lattice, eyes soft, but pulling light like chrome.
She wore a plum purple satin midi dress —the kind of violet that reads richer under yellow bulb light. The fit was body-skimming, but not tight. More like suggested tension. Shoulders structured but not uptight, sleeves long and ruched at the wrists. Fabric clung then fell. The neckline? Extremely low. Framed exactly to the sternum. Blunt, unapologetic, clean.
Footwork came in cool contrast: silver strappy heels , barely-there with just enough laces to keep shape. Legs bare, no tights, no shimmer, no fuss. Hair loose, full glass-blowout, parted in the middle. Jewelry barely noticeable—just a couple of rings and small hoops, maybe? She didn’t over-sell anything. The movement of the dress against light did enough.
One pose. One color. That corner belonged to her.
