Tate McRae wore a custom black Balenciaga gown with long gloves and tousled hair for her Vogue Grammys February 2026 photo diary.
For her Vogue Grammys photo diary , shared in February 2026, Tate McRae selected a sharp yet purposeful look—equal parts vamp and velvet rope. She wore a custom Balenciaga strapless black gown , precise in silhouette but unruly in spirit. The fabric didn’t hug—it shaped. The bodice was sculptural, arching into a curved neckline without visible lining or boning. It flowed into a tapered hemline that allowed subtle movement, aided by floor-length paneling in soft fringe or shattered velvet that gave textural ambiguity.
Her styling pulled references from a few corners—old Hollywood, Madonna’s Blonde Ambition era, pre-Y2K runway punk. A pair of Balenciaga Spring 2026 gloves , long, supple, and influenced by armor, extended past her elbows and gave structure to every pose. They’re not just accessories—they extend the line of the silhouette. No earrings. Instead, the neck was anchored with a gold choker , thick and modern, resting like a collar of quiet defiance.
Makeup leaned toward a bold smoky eye , heavily shadowed at the outer corners and swept upward. Her lips—neutral, matte, and lined—acted more like punctuation than color. Hair, crafted by Dimitris Giannetos, was glam but deliberately imperfect: soft extension-led fullness, center-parted, waved with Kate Moss in mind. The finish? Neither glossy nor flat. Just movement.
Skin radiated with visible prep: Neutrogena Hydro Boost Hyaluronic Acid Water Gel clearly did its job, as did the Neutrogena Healthy Skin Radiant Cream Concealer in tones Sugar and Hazelnut , used to both correct and contour. Neutrogena Hydro Boost Lip Balm in Sheer Berry sealed the lips in a flushed tone that didn’t compete, only echoed.
Nails came courtesy of Essie Gel Couture Bubbles Only —a deep berry punch, short and manicured, subtly rebellious. And yes, her fragrance was calculated— Initio Parfums Prives Atomic Rose Hair Perfume , misted post-styling, leaving the suggestion of rose and vanilla behind as scent trail chic.
The fashion verdict ? Dramatic, choreographed, and editorial by design . This wasn’t a red carpet look—it was a photoshoot performance in motion.
Maude Apatow’s GRAZIA UK February 2026 shoot moves between casual food stop and convertible calm, caught in four sharp frames.
In GRAZIA UK’s February 2026 issue, Maude Apatow sits against a red-tiled wall, Tommy’s Hamburgers sign behind her. Beige sweater, food in one hand, drink in the other. Sunglasses dropped on the grass. It’s not polished. It’s just a pause, a bite, a sip.
Another frame shifts. White cropped sweater, culottes high at the waist, black heels clicking on a sunlit sidewalk. Palm trees line the street, cars parked, sky clear. The outfit is sharp, but the mood is everyday. Light and shadow cut across her stride.
Then the convertible. Black sleeveless dress, textured, leaning against a white Mercedes. Palm trees behind, greenery thick. It’s elegant, but not staged. More like someone waiting, leaning, caught in the middle of a thought.
The last look folds leisure into style. Bandeau top patterned, oversized cardigan draped, sunglasses on. Standing in the car, sky wide, palms tall. It’s relaxed, almost careless. But the frame makes it feel deliberate.
Together, the spread doesn’t flatten her. It lets her shift. Hamburgers, sidewalks, cars, cardigans. GRAZIA UK doesn’t chase one image. It lets Maude be many.
Margot Robbie wore a custom red velvet Chanel gown with white underlayers at the Wuthering Heights Paris Premiere on February 2, 2026.
At the Wuthering Heights Paris photocall on February 2, 2026, Margot Robbie leaned deep into romantic pageantry, draped in a theatrical construction that whispered operatic echoes of the novel itself. She wore a custom Chanel gown , built like 19th-century memory work—velvet, corsetry, and weight.
The top half: a sculpted oxblood red velvet bodice , tight to the torso with a sharp courtepoint -inspired silhouette. No sleeves. Delicate shoulder straps held the structure in place while skimming the collarbones. The neckline? Low and square, but not lewd—more Regency flirtation than Hollywood bravado. Around her neck sat a velvet choker , matching the gown’s hue, adorned with a Lorraine Schwartz custom diamond brooch placed front-and-center like punctuation.
The skirt was where it got formally interesting. A voluminous overskirt in the same crimson velvet wrapped diagonally across a white silk underlayer , which descended in a smooth, architectural drop toward the floor. The train pooled behind her in thick folds—lush, dramatic, and purposeful. Think modern-day Catherine Earnshaw reimagined through couture.
Accessories stayed minimal, on purpose. She completed the look with glossy Vivienne Westwood black patent leather court pumps , sharply pointed and barely peeking from under the hem. Hair left long, parted in the middle, softly waved—none of the Barbie gloss, all of the literary tension. Lips muted but structured. No excess. Just careful contrast.
The fashion verdict ? Lush, deliberate, and loaded. A mise en scène look that wrapped costume in couture and let the fabric mourn out loud.
