Olivia Rodrigo wore a minimalist champagne-toned silk dress and black heels to the UMG’s 2026 Music Is Universal Showcase in Los Angeles.
At Sir Lucian Grainge’s 2026 “Music Is Universal” Artist Showcase in Los Angeles on January 31, Olivia Rodrigo walked in dressed like a tune held on pause — quiet, slow to shimmer, but impossible to skip.
She wore a champagne-colored silk midi dress from Valentino, with a high neckline and no visible seams besides the ones that matter. It shifted with her posture — that slippery silk quality that looks like it’s melting but holds everything perfectly. The silhouette: clean. The energy: subtle. The hem dipped just below the knee, untouched by embellishment. No ruffle, no lining, no flare.
The light made the fabric hum — not bright, just soft refractions like brushing your hand across polished metal. Her shoes were thin black ankle-strap pumps. A safe choice, which, in this case, let the dress breathe.
Hair was glossy, parted to the side, no visible pins. Makeup muted and hazy — mauve cheeks, diffused liner, and a lip somewhere between burnt rose and nothing at all. Accessories? None worth noting, and that was the point.
This wasn’t a fashion moment meant to be dissected — it was a mood held still.
Red carpets glamorize noise. Olivia walked in wearing silence. And she made it visible.
Charlotte Lawrence wore a grunge-glam sheer lace dress with leather corset detail at the 2026 GRAMMY Pre-Gala in Beverly Hills.
At the Pre-GRAMMY Gala & Salute to Industry Icons in Beverly Hills on January 31, Charlotte Lawrence made an entrance that whispered vintage rebellion with a twist of soft decay. Her look didn’t scream for attention — it let the fabric haunt the space around her.
The dress was an ultra-sheer lace slip , length falling straight to the floor, with the kind of raw finish that keeps threatening to unravel but never does. The ghostly white mesh was delicately webbed in floral embroidery, stretched tightly over a black bra-style corset bodice —leather, matte, spiked with silver studs at the neckline. Like lingerie tossed into a gothic daydream.
No lining. No underlayer. Just her, letting the light pass through where it could, without flinching.
Her hair was worn long and loose, center-parted, unstyled-but-obviously-styled — offsetting the delicacy of the dress with blunt realism. Black nails. No necklace. Eyes smoky and shadow-washed, mouth neutral.
It wasn’t graceful. It wasn’t neat.
Charlotte wore a look that didn’t ask to be understood — only noticed. And it was.
Becky G wore a sheer leopard print column gown with glossy appliqués at the 68th GRAMMY Awards Pre-GRAMMY Gala in Los Angeles, January 2026.
At the 68th GRAMMY Awards Pre-GRAMMY Gala in Los Angeles on January 31, Becky G showed up in a look that felt half predator, half myth. The kind of dress that doesn’t demand space — it absorbs it.
She wore a sheer nude column gown , embellished with sculpted leopard print appliqués that looked poured on like molten vinyl. The top panel was squared off in python-like texture, locked tight across the chest. But the rest? Pure slink and tension. The spots climbed down her torso in rich reds, smokey ambers, hardened blacks — raw color trapped in gloss. There was no lining. Just her skin, working overtime, daring light to mess up its angles.
The dress sat flush to the floor. The silhouette stretched fully vertical, no fuss at the hemline. From a distance, almost minimalist. Up close? Chaos and craftsmanship.
Hair was pin-straight, sleek, parted sharp. Eyes bronzed. Nails metallic. Accessories? Tiny, almost invisible hoop earrings and one ring. The restraint said it all. This wasn’t a maximalist moment. It was a controlled burn.
Some red carpet looks scream for attention. Becky’s just looked straight back and didn’t blink.
