Rhea Seehorn wore a sharp blue double-breasted blazer with black tailored shorts at the Apple TV Press Day in Santa Monica 2026.
At the Apple TV Press Day in Santa Monica on February 3, 2026, Rhea Seehorn came dressed like she meant business—but left just enough room for play. She showed up in a boxy-cut, double-breasted blue blazer , cool-toned and assertive, sleeves pushed casually past the wrist like she’d been in motion. Her hands in the pockets, stance wide, posture unbothered but firm. Thin shoulder padding shaped the upper half into something sharply sculpted, but not stiff. The contrast came below: black knee-length tailored shorts , clean hem , nothing flashy. Functional but deliberate.
It’s a look that asks: what happens when a corporate blazer loses the boardroom and gains breathability?
Paired with sheer black tights and classic black pointed pumps , the whole thing walked a line—spring’s newer shift toward reworked workwear, lightened just enough to stay playful. Her hair, styled in a sleek, side-parted lob, added a polished minimalism. And makeup? Barely there but intentional—brows groomed, mascara working, skin somewhere between camera-ready and lived-in.
The mood wasn’t overdressed or ironic. It was measured. Intentional. You felt it more on the second glance than the first.
There’s a rising appetite in fashion right now for garments that suggest day-job realness—without looking like they came straight out of a cubicle. Seehorn’s moment tapped into that. An office silhouette—but with legs and tempo. Gone was the pencil skirt and belt routine; in its place, a bluer, sharper layer and wide-legged air space.
Zoe Bleu wore a sculptural gothic-inspired corset dress with trailing lace at the Dracula premiere in Hollywood on February 3, 2026.
At the Dracula premiere on February 3, 2026, held at the TCL Chinese Theatre in Hollywood, Zoe Bleu showed up with a look that made the red carpet feel like the backstage of an overgrown Victorian opera hallucination. The dress —if “dress” is still the right word—was a structured body-piece with exaggerated hips, pearl and bone tones, and corseted false rigor. The material veered between lace, mesh, satin illusion and sheer daring. Flared ruffles framed the hips. Metal details (yes, on the bodice) curved and gleamed like medieval chainmail reimagined. Shoulder caps curled up rather than down.
There were long white train fragments—more decorative residue than function—trailing behind, dragged along like torn wedding streamers. Her heels? Sculptural too. High. Layered in tattered white texture, with anklet-style chain straps adding a sharp metallic break. Legs bare, skin pale, makeup low in color but high in contrast. Rosy coolness around the eyes, almost too delicate. Wet waves in the hair—blunt part, no pretense.
It didn’t try to be edible fashion. It was strange. Theatrical. More performance object than wearable. A little haunted, but that might’ve been the point.
In a red carpet sea of tasteful gowns, Bleu’s look wasn’t crafting a moment—it was undoing one.
Olivia Munn wore a sculptural black blazer and cropped wide-leg trousers at the Apple TV Press Day in Santa Monica, 2026.
At the Apple TV Press Day in Santa Monica on February 3, 2026, Olivia Munn stepped into the frame dressed in black from shoulder to heel—carefully composed but far from stiff. What she wore wasn’t just a suit. It was angular. Strategic. The blazer , unbuttoned and sharply cut, leaned into asymmetry without becoming conceptual. Lapels blended into structure. No shirt visible underneath—just clean black layers forming sharp lines and air gaps.
Cropped wide-leg trousers , solid and structured, hit just past the knee. A deliberate cutoff. Neither shorts nor culottes nor culottes pretending to be streetwear—just black fabric with a middle-step attitude. No tights. No bells. Just skin. The finish came with pointed stiletto pumps in a matching black, a familiar contrast to the roomy volume above.
Hair worn down, ultra-drapey and parted slightly off center. Waves lightly defined but relaxed. There’s clarity to the whole style—no shimmer, no fringe, no jewelry distraction. Just lines, shape, and confident silence.
This was monotone with motion: a study in form over flourish, using nothing to say plenty.
