Rose Byrne moves through Style Magazine’s February 2026 issue, caught between satin polish and maternal unraveling.
In Style Magazine’s February 2026 issue, Rose Byrne leans into a black-and-white striped armchair, halter-neck satin dress catching the light. The room is modern, geometric, almost too composed. But the pose is loose, like she’s halfway through a thought.
The editorial shifts. She’s stretched across a black couch, white fringed dress, red ribbon heels. A lamp hangs overhead, beige and soft. It’s not glamour. It’s something quieter.
Then the quote: “Having a baby is like going to the moon, and nobody ever tells you that.” She’s on a pale blue sofa now, brown top, dark skirt, black shoes. The wall is paneled, the mood is still.
The story behind the shoot is heavier. Byrne stars in Mary Bronstein’s “If I Had Legs I’d Kick You,” a film born from diaries, cheap wine, and locked bathroom doors. It’s not horror, but it’s close. Claustrophobia, monitors beeping, motherhood stripped of polish. Byrne plays Linda, Bronstein’s avatar, and the script was built at a kitchen table in Brooklyn, word by word.
Her career has zigzagged — Troy, Marie Antoinette, Damages, Bridesmaids, Insidious, Peter Rabbit, X-Men, Mrs America, Physical, Platonic. She calls herself a “career bee.” But this film feels different. Not a crescendo, maybe, but a rupture.
The final image folds it all together. Green dress, Golden Globe in hand, smile tight. It’s not triumph. It’s survival.
Do these outfits feel like fragments of different personas, or one restless editorial voice?
KATSEYE wore a coordinated series of sheer monochrome evening looks to the 2026 Music Is Universal showcase hosted by Lucian Grainge in LA.
At Sir Lucian Grainge’s 2026 Music Is Universal artist showcase in Los Angeles, girl group KATSEYE arrived in curated contrast—six different looks, but a single visual vocabulary. The styling? Sheer, structured, and sharp-edged, all in monochrome tones. Every member wore variations on flowing silks, bodycon mesh, exposed midriffs or lingerie layering—offset by precision details like straps, slits, metallic jewelry, and just enough skin.
Each of the members wore coordinated clear or black heels (no platforms), their hair styled in expansive waves and center parts. Jewelry??? Minimal but deliberate—clear stones, layered rings. The looks balanced cohesion and individuality without falling into “all-same-dress” territory.
This wasn’t a flat group entrance. It moved like a unified campaign shot—six image frames stitched into one public appearance with rhythm and sync.
Jennifer Hudson wore a dramatic black satin coat dress with a thigh-high slit to the Pre-GRAMMY Gala in Beverly Hills on January 31, 2026.
At the Pre-GRAMMY Gala honoring industry icons Avery and Monte Lipman, held at The Beverly Hilton on January 31, Jennifer Hudson redefined dramatic tailoring in a look that blended trench-coat structure with red carpet grandeur. She was wrapped in a black floor-length satin coat dress , cinched tight at the waist but split wide through the leg. A generous front slit exposed one leg up to the hip, balancing softness with strategic edge.
The dress had volume and tension—the oversized collar, the structured shoulders, the puffed sleeves gathered just right at the cuffs. Polished hardware punctuated the silhouette: gold buttons, a wide belt with gleaming details. The fabric caught just enough light to feel intentional, not reflective. Not glam. Powerful. Almost militant, but in satin.
She paired the dress with pointed black pumps , barely peeking beneath the hem. Hair was swept up into a softly-curled ponytail, structured at the crown, loose near the ends. Makeup leaned into warm neutrals—defined brow, amber lids, chestnut lipstick—the kind of face that doesn’t need sparkle to finish a look. Gold hoop earrings and a delicate chain necklace completed it. Not over-accessorized. Just punctuated.
Hudson didn’t raise her voice or flash sequins—she let the cut talk and gave the fabric its own mic.
