Nessa Barrett wore a sheer black mesh dress with patent pumps at Cosmopolitan and Pandora’s 2026 L.A. music weekend event.
At the Cosmopolitan and Pandora Jewelry celebration of Music’s Biggest Weekend, held January 30, 2026, at Mother Wolf in Los Angeles, Nessa Barrett made a statement that felt both bare and deliberate. She wore a fully visible, body-skimming black dress characterized by a sheer mesh overlay stitched in a lattice motif, revealing a structured, lightly ruched black satin bustier beneath. The hemline grazed just above the ankles, ending in soft floral-scalloped detailing. On her feet: pointed black patent pumps —simple, sharp, and a little cold. Her long dark hair fell loose in soft ripples, with minimal styling. The makeup was similarly subdued: matte skin, a hazy shimmer across the lids, and muted nude lips. A singular word tattoo— heartless peeks out beneath her collarbones, nearly matching the dress’s cool defiance.
This wasn’t high drama or attention-baiting glamour. It felt more interior. A girl lingering in the shadow of the party rather than bursting into its spotlight. There’s something unmistakably intimate in choosing a sheer texture for an event appearance like this—on a night built for camera flashes and surface dazzle. Barrett didn’t lean fully into visibility, but she didn’t hide either. She landed somewhere in between: not transparent, but translucent. That tension—the one between confidence and privacy—is where the outfit holds its quiet force.
Stylistically, the look skims the edge of 1990s raw femininity. Think Dolce & Gabbana during their lingerie-dress era, but drained of overt seduction. It also gestures at media event minimalism seen lately across younger alt-pop performers: barely-there fabrics, simple silhouettes, knowingly vulnerable. The polished pumps, almost too pristine beside an otherwise emotionally gritty ensemble, create a friction point. Intentional? Maybe. But it interrupts the mood a little—a crack in the aesthetic hypnosis.
There’s an irony to wearing something this sheer as armor—it makes the exposure deliberate, and therefore less vulnerable.
Madison Beer wore a sculpted black keyhole gown with velvet straps and a train at the 2026 Grammy Awards in Los Angeles.
At the 68th Annual Grammy Awards on February 1, 2026, in Los Angeles, Madison Beer chose a dress that didn’t whisper. It was smooth, deliberate, tight where it needed to be, and cold in its precision. A full-length black column gown with a sculptural silhouette, not quite minimalist, not quite theatrical. The neckline plunges into a rounded keyhole cut, framed by thick black velvet straps that create almost a bustier effect—cinching without boning. Below the waist: straight, with a slight train that clumsily pooled around her open-toe heels, pale pedicure on display. Her long waves were blown out, glossy and parted just off center. Droplet earrings. Glossed lips. Stillness in every gesture. Not joy. Not attitude. Presentation.
In the hierarchy of red carpet dressing, this is the kind of look that seems safer than it actually is. Black. Strap-based. Cleavage-forward. But there’s danger in the details. The neckline is unusual—not cut low, but carved out into an organic curve that almost dips too far . The velvet contrast brings texture but could easily lean costume if pushed even a millimeter more. And yet it doesn’t. The styling stops just short of “trying.” That’s the skill.
This kind of red carpet fashion doesn’t aim for surprise. It plays in the space of controlled elegance—strong lines, studied restraint. We’ve seen versions of it on Angelina Jolie in Versace or Dua Lipa in Saint Laurent: that smooth black fabric, grounded by one statement element—whether a neckline, a shoulder, a back. So what gives it personality here? Honestly, it’s her stance. One hand on the hip, the other flipping hair back. She leans into the sculpture. Makes herself the axis of it.
Sometimes the trick isn’t designing the dress—it’s convincing us that it was designed around you.
Eve’s Numéro Netherlands January 2026 shoot moves between leather grit, feathered drama, and surreal prints stitched into sharp frames.
In Numéro Netherlands’ January 2026 issue, Eve steps into a pink backdrop, sleeveless leather top zipped tight, shorts laced at the waist. Black heels, bracelets stacked, feathered headpiece rising like a crown. The pose is confident, almost defiant.
Another frame strips color away. Black-and-white, oversized coat with triangular sleeves jutting outward. Lace-up pants shine underneath, rings flashing as she clutches the collar. Hair cut blunt, bob neat. It feels architectural, more structure than clothing.
Then the textured dress. Spiked embellishments, feather-like shards running down the body. She leans against a metal bar, one hand on her hip, the other stretched. The roll-up door behind her makes the outfit sharper, less polished, more industrial.
The last look folds surrealism into tailoring. Gray blazer with exaggerated shoulders, pants printed with a human face. Gloves black, sunglasses dark. Arms raised, fingers spread. It’s dramatic, but not theatrical. More like a sketch come alive.
Together, the spread doesn’t flatten her. It lets her shift. Leather and feathers. Triangular sleeves. Spiked dress. Printed pants. Numéro Netherlands doesn’t chase one image. It lets Eve be many.
