Nessa Barrett wore a sheer black lace dress and pointed heels to the Warner Music Grammy Party in Los Angeles on January 29, 2026.
At the Warner Music Grammy Party in Los Angeles on January 29, Nessa Barrett showed up in something that felt half-witchy, half DIY-punk, letting shadowy textures and skin do the heavy lifting. The dress—if we’re still calling it that—was a black sheer lace slip , asymmetrical and textured, with flashes of crochet and raw edges gathered along the hem. You could see her legs. That wasn’t the point.
The neckline dropped deep—a plunge with thick, black eyelet trim stitched in loose ovals. More decorative than functional, but holding shape. No bra. Tattoos sticking out right where the lace stopped. The straps fell loosely over her shoulders in mismatched angles. Nothing about the construction was clean, but it worked because it wasn’t pretending.
Barrett wore her hair down in soft waves, parted off-center, flipping casual. Her shoes: pointed black heels , classic patent texture that glinted with the camera lights but didn’t interrupt the mood. Fingertips ringed in silver and black polish. Bare legs. Tattoos and hair doing half the styling.
This wasn’t about polish or trend. It was mood. Barely a dress, barely styled— but something about that mess made it magnetically sure of itself.
Rebecca Black wore a sleeveless black dress with tan lace-up boots to the ASCAP Grammy Brunch at the Four Seasons in Los Angeles.
At the ASCAP Grammy Brunch held January 30 at the Four Seasons in Los Angeles, Rebecca Black arrived in an outfit that didn’t beg for attention—it sidestepped into sharpness instead. The silhouette was simple: a sleeveless black midi dress with a softly flared, asymmetrical hem and clean paneling across the waist. Running straight down the front? A line of bold white buttons—not functional, just enough to punch contrast into a sea of muted black.
She paired it with tan lace-up knee boots —wide set, rounded toe, slightly retro. They weren’t elegant. They were sturdy. Played against the dress’s tactile softness, it created enough friction to keep you staring. No necklace, no earrings. A black oversized tote on one arm. Round oversized black sunglasses covering half her face. And the finishing touch: a black beret sat slightly askew, intentionally so. Paris café meets LA brunch circuit.
It wasn’t red carpet costume. It wasn’t trending. Her tattoos peeked out quietly across both arms, unfussy and unsmoothed. This was fashion as attitude—not volume. Dressed like she knew brunch is still public, still performative, still worth showing up tailored.
Ashley Moore moves through Indah Clothing’s January 2026 “Age of Aquarius” collection, caught between beach ease and tropical edge.
In Indah Clothing’s January 2026 “Age of Aquarius” collection, Ashley Moore is framed in shifting moods. On the beach, she sits in a green chair, striped bikini, drink in hand, curls catching sunlight. Waves slide in quietly behind her. It’s casual, almost careless, but the kind of careless that feels deliberate.
Then the deck. A black one-shoulder dress, brown sandals, bracelets stacked. Hammock sways nearby, thatched roof above, ocean stretching out. The look is sharper, but softened by the tropical air.
Another frame leans into color. Patterned bikini, arms raised, bracelets glinting, pool water reflecting sky. The background is lush, green, ocean beyond. It’s vibrant, but not loud — more like a pause in the middle of a day.
The last shot folds it together. White bandeau top, brown wrap detail, long skirt with bold abstract print. Small handbag in hand, sunset light behind palm trees. It’s the most composed of the set, but still grounded in the same tropical ease.
Together, the spread doesn’t flatten her. It lets her shift. Beach chair, deck edge, poolside, sunset skirt. Indah’s “Age of Aquarius” doesn’t chase one image. It lets Ashley be many.
