Paris Hilton wore a sequined black Nicolas Jebran gown with opera gloves and a flippy lob to the 2026 GRAMMY Awards in Los Angeles.
At the 68th GRAMMY Awards , held February 1, 2026, at Crypto.com Arena, Paris Hilton arrived in a look that was both armored and playful—serious shine, unserious smile. The gown? A Nicolas Jebran creation, obviously built to shimmer under every camera flash. Jet black but nowhere near simple, the fabric flickers with sequins arranged in scale-like patterning , forming a shell-like optical texture that tightens around the torso and fans outward near the hips. Every inch of the dress is considered— shoulders dipped into a wide scoop , just enough collarbone without veering costumey. No slit in sight, but the silhouette remains sharp, erect, and lean.
The black opera gloves in velvet added a touch of retro frost—an old Hollywood nod, though not quite nostalgic. More like reclaimed vintage, filtered through an MTV lens. She wore a choker collar , thick and pitch-dark, echoing the dress’s weight. Diamond drop earrings , a glimmer of a tennis bracelet peeking out of the gloves, nothing that distracted too heavily from the overall projection: polished fame.
But the biggest shift? Her hair. Gone is the cascading eternity of vanilla-blonde extensions—replaced with a fresh lob , flipped in soft curves, parted deep on one side. It’s a real haircut. Real scissors. A decision. And that decision paid off: suddenly the whole frame feels more structured. Like she’s taking her place in front of the flashbulbs rather than letting them find her.
This isn’t about reinvention. It’s about tight refinement. Clearing the visual clutter. Quietly reinforcing the idea that even an exaggerated aesthetic can benefit from discipline .
The shimmer said starlet, but the edges whispered CEO—and that mix might be her cleanest trick yet.
Este, Danielle, and Alana Haim wore coordinating black satin embellished ensembles on the 2026 GRAMMYs red carpet in Los Angeles.
At the 68th GRAMMY Awards , held on February 1, 2026, at Crypto.com Arena in Los Angeles, Este Haim , Danielle Haim , and Alana Haim stepped onto the red carpet with what appeared to be zero interest in maximalism—but every intention of sync.
There’s a kind of quiet genius in showing up like this: three versions of the same outfit, each bent a little differently to meet their personalities. Same fabric, same silhouette rules— sleek black satin, silver-chain trim, column skirts with sharp side slits . But there’s variation in the storytelling.
Look 1: Este Haim, the Soft Power Statement
Este’s take goes minimalist— a bandeau-style crop top with delicate rhinestone straps tracing across the shoulders and back. The skirt falls mid-ankle, with a side slit edged in gemwork. Hair kept long, loose, and parted center. Not screaming for attention, just… letting the cut and line breathe. This is how you do coordination without uniformity.
Look 2: Danielle Haim, the Structured Anchor
Danielle’s version shifts tonally. Hers is a full, sleeveless tank gown with a halter illusion created by criss-crossing straps and a deep V-neckline. The same silver embellishments trail the seams, but the structure skews a bit more regal—less playful, more poised. You could blink and picture this sewn into eveningwear history books next to ’90s Prada.
Look 3: Alana Haim, the Relaxed Edge
Alana sticks closer to Este’s crop-top formula, but lets the styling slide toward lightness. Her straps curve farther out toward the shoulders, creating more skin real estate around the neckline. A satiny band skims the ribcage and almost floats above the waistline. Everything about the styling feels a bit more relaxed—even her posture carries that It Girl shrug.
Pulling off coordinated styling as a group—particularly on the red carpet fashion landscape that often leans competitive—is no easy feat. Doing it without looking like a trio at prom or a last-minute girl group relaunch? Rarer still. There’s no color shock, no overstyled glam squads, nothing “too much.” Just a trio of complementary energies, bound by textile and tempo.
This wasn’t matchy-matchy—it was a visual harmony, tuned low but crisp.
Laufey wore a custom lilac beaded Miu Miu gown with Jimmy Choo Rosie Satin Platform Sandals at the 2026 GRAMMY Awards in Los Angeles.
At the 68th GRAMMY Awards on February 1, 2026, held at Crypto.com Arena in Los Angeles, Laufey looked like she walked out of a jazz-soaked dream in powder lilac. Her body-skimming Miu Miu custom gown felt vintage—but built with intent. The neckline dipped into a deep V , traced cleanly with crystal embellishment , while silvery beaded embroidery scattered lightly across the bodice like dew clinging to lavender silk. The skirt flowed downward in a sheer base overlaid with horizontal rows of intricate fringe beading —softly glinting, swaying gently with each move, never screaming but always speaking.
This wasn’t loud. This was careful. Quietly constructed. The kind of silhouette that asks you to notice the work, not the performance . The hair—center-parted, loose waves, nothing too done. The makeup followed—dusty mauve on the eyelids, a flush rather than a contour. Nothing felt forced.
Nestled beneath the hem, just barely visible: Jimmy Choo’s Rosie Ivory Satin Platform Sandals —a match in tone, not texture. The glossy satin adds a polished lift to the otherwise diffused elegance of the look.
What made this ensemble feel current, though, is its restraint. In a field of bombastic looks and performative skin-baring, this was a gown made for a different kind of entrance . One that doesn’t grab the mic but sits at the piano instead.
In letting softness speak, this dress reminded the room that subtle doesn’t mean small.
