Sabrina Carpenter wore a champagne-toned silk slip dress with matching gold Saint Laurent pumps while leaving a pre-Grammys party in Los Angeles.
Captured just as she slid into a dark car outside a pre-Grammys party in Los Angeles, Sabrina Carpenter offered only a glimpse—but the moment was enough to say everything. She wore a champagne-hued silk mini dress , cut low in the back and gathered softly at the waist. The fabric caught the streetlights like it had highlighter in the weave. Short, light, intentionally undone.
From behind, the dress read somewhere between vintage negligee and expensive ease. No jewelry visible—just soft curls grazing her bare shoulders, styled loose, brushed out, Marilyn-coded. She stepped into the car wearing a pair of gold Saint Laurent Tribute pumps —sky-high, sleek, and near-perfectly color matched to the dress. Satin on satin. A gold-on-gold decision that looked more accidental than calculated—and that’s what made it work.
The sidewalk flash emphasized the rawness of it all. No red carpet. No posing. No PR wall behind her. Just a slinky dress, a flash, and one leg slipping into a waiting car.
This wasn’t a planned reveal. It was a fashion leak—and that’s the kind of styling that always speaks loudest.
Jade Thirlwall wore a printed satin dress with soft draping and fluid movement to the Pre-GRAMMY Gala in Beverly Hills on January 31, 2026.
At the Pre-GRAMMY Gala and Salute to Industry Icons honoring Avery and Monte Lipman on January 31, Jade Thirlwall arrived on the red carpet with quiet confidence and soft texture. Her dress—fluid, sculptural, and dipped in an emerald green satin print —brought a sense of speed and softness, like it was stretched in motion. The fabric wasn’t actually ruched, but the illusion of folds was printed onto it. Like shadows sketched into motion.
The neckline was an elegant cowl, pooling just slightly at the chest. One slender strap split subtly at the collarbone. The shape hugged without squeezing, flowing into a full-length silhouette that stopped just above the floor. On either side, long matching sashes hung down from the hips—an echo of sleeves that never existed, left to trail like loose punctuation.
Her beauty was moody but clean. Defined lips in a dark mauve , glowing skin, thick brows—not overdrawn. The hair stayed soft and wavy, long past the shoulders, parted slightly as if it was shifted by thought. Shoes were mostly hidden beneath the hem, but the toe gave it away— black pointed pumps , minimal, sharp, not fighting for attention.
This was less of a loud look than an intelligent one. Thirlwall floated onto the carpet with texture, tone, and a kind of elegant refusal to overstate.
Daisy Edgar-Jones wore a white feather-trimmed mini dress to Estee Lauder’s Double Wear celebration at Chateau Marmont on January 29, 2026.
At the Château Marmont on January 29, Daisy Edgar-Jones showed up wrapped in softness—but not fragility. Her look for Estée Lauder’s Double Wear celebration leaned refined, with a wink of eccentricity. She wore a white mini dress , fitted and strapless, smooth as icing. The upper bodice was blanketed in tufts of long feathered fringe , arranged asymmetrically across the chest in a way that looked less “roaring twenties” and more “vintage winter bird at a gallery opening.”
The dress itself was minimalist—no seams, no zippers visible, no cutouts or peekaboos. Just sleek structure and whimsy wrapped into one clean silhouette. She kept her styling smart: muted nails, a subtle ring stack, and no necklace competing with the feather texture up top.
Hair was worn down in soft waves, parted naturally, face-framing with ease. Her makeup was light and balanced—nothing too sculpted. Just a bit of blush, soft liner, and a lip that matched the relaxed mood of the look. The profile was part fashion photoshoot , part “we didn’t try that hard,” and the balance actually worked.
This kind of quiet armor’s not shouting for best dressed—it just calmly owns its place at the table.
