Natalia de Molina wore a sheer black gown with rhinestone appliqués and cape detailing to the Carmen Awards in Granada on January 31, 2026.
At the 2026 Carmen Awards in Granada, Natalia de Molina stepped onto the red carpet in a look that felt more like a whisper than a scream—delicate, dark, and full of pause. Her gown, barely skimming the shoulders and cut from sheer black fabric, moved like shadow. Except for the punctuation marks: the scattered crystal embellishments across the body, each catching flash like glass eyes.
The fabric is whisper-thin, bordering on translucent. This isn’t about drama; it’s about suggestion. A gown cut simple, una asymmetrical drape at the neckline , soft scoop, allowing the appliqués to break the silence. The stones resemble deconstructed floral buds or crushed disco sequins , irregular in their spacing and shine. Mesh panels float freely where lining would traditionally go. No waist cinching. No volume at the hem. It hangs—and that’s the point.
A sliver of cape detail sits lightly on her shoulders. Not a train, not a trail. Just light movement when she walks. A single visible ring on her index finger and pointed black heels ground the look in control. There’s no necklace, no earrings visible beneath the curtain of her softly waved hair and blunt fringe— the kind that doesn’t need styling, only brushing .
Her makeup echoes this restraint: pink cheeks, flushed lip, a little shimmer in the inner corner. Confidence here lives in the gaps. In sheer fabric left sheer. In rhinestones that glimmer more when they don’t pretend to be refined.
It’s not about “daring”—it’s about staying soft and still in a room full of volume.
Belen Cuesta wore an off-shoulder brown draped gown and pointed heels to the Carmen Awards in Granada, Spain, on January 31, 2026.
At the Carmen Awards for Andalusian Cinema on January 31, 2026, Belen Cuesta arrived in a look that didn’t lean loud—but still found its place among the flashbulbs. A dark clay brown gown with a twisted, off-the-shoulder fold-over neckline , sculpted to stay just shy of drama. No sparkle. No fringe. No trail. Just cut, drape, and confidence.
The fabric reads like silk gazar or a matte satin-sateen hybrid. Dense, but not heavy. The dress clings under the ribs before loosely gliding down her legs, gathering with minor creases toward the ankle. A thigh-high slit , subtle and clean, opens just enough for her foot to slide into frame. And those shoes? Brown pointed stilettos , patent finish, nothing to distract.
One finger, one ring. Maybe two. No visible earrings. No necklace. Hair curled into soft waves, swept over one shoulder with the kind of fullness that doesn’t require effort, just a mirror check and one good touch-up. Her makeup stays quiet—brushed brows, terra-cotta cheeks, and a sepia lip. Nothing glossy.
This wasn’t trying to compete. It was trying to withstand—and it did.
Melanie Fiona wore leather bermuda shorts, a tied blouse, and knee-high boots to Spotify’s 2026 Best New Artist Party in Los Angeles.
At Spotify’s 2026 Best New Artist Party , held January 29th in Los Angeles, Melanie Fiona took the black carpet and made it look more like a street corner in Paris—if that street corner had a VIP section. Her look wasn’t about gown-and-glow. It was full attitude layered under ribbon-tied chill.
The core: a sharply styled white semi-sheer blouse , cinched slightly at the bust with a knotted tie in the center. Easy drape. Nothing uptight. Underneath, a black bralette peeks through—not flashy, just there. On bottom, things get more interesting. Raw-hem black leather bermuda shorts. Not faux. Not polished. They hit around the knee, unfinished edges catching light and mood in equal measure.
Then come the boots— sleek knee-high leather with a subtle block heel, fitted but unfussy. Like she might stomp off if the room gets too fake.
She brands but not loudly—a minimal black Fendi clutch with gold chain hardware casually in hand. A full stack of rings on both hands. Statement silver choker necklace layered flat against skin. Circle-lens sunglasses perched just below the eyes, exactly where they’re meant to sit when you know you’re being watched.
Hair: long, loose, Hollywood volume with a matte finish. Just brushed enough. Topped off by a black leather beret tilted ever so slightly. No irony. Just placement. This is styling made of confidence—not one big piece, but the collision of smaller, cooler ones.
She didn’t show up to shimmer. She showed up to direct traffic.
