Tessa Thompson’s September 2025 Esquire USA feature moves between textured fashion and sharp talk about her left-of-center film choices.
In Esquire USA’s September 2025 issue, Tessa Thompson stands in front of a floral-patterned couch, black textured dress heavy against the warm-toned wall. One hand raised, the other holding a ribbon. Hair voluminous, carpet pale. The frame feels vintage, almost stubborn in its stillness.
The article digs into her career. Thompson has used her star power not to chase safe roles but to push unusual projects. From Creed and Marvel blockbusters to HBO’s Westworld , she’s balanced mainstream visibility with independent films like Annihilation , Dear White People , and Selma . Now she’s producing and starring in Hedda , a new take on Ibsen’s Hedda Gabler . It’s not just about acting — it’s about shaping stories that reflect her values, elevating voices often left out.
Her words carry the same edge as her pose. She talks about her mother’s influence, about relationships, about choosing work that feels alive. The spread doesn’t flatten her into one image. It lets her be both the Hollywood name and the restless producer.
Becky G wore a sheer leopard print column gown with glossy appliqués at the 68th GRAMMY Awards Pre-GRAMMY Gala in Los Angeles, January 2026.
At the 68th GRAMMY Awards Pre-GRAMMY Gala in Los Angeles on January 31, Becky G showed up in a look that felt half predator, half myth. The kind of dress that doesn’t demand space — it absorbs it.
She wore a sheer nude column gown , embellished with sculpted leopard print appliqués that looked poured on like molten vinyl. The top panel was squared off in python-like texture, locked tight across the chest. But the rest? Pure slink and tension. The spots climbed down her torso in rich reds, smokey ambers, hardened blacks — raw color trapped in gloss. There was no lining. Just her skin, working overtime, daring light to mess up its angles.
The dress sat flush to the floor. The silhouette stretched fully vertical, no fuss at the hemline. From a distance, almost minimalist. Up close? Chaos and craftsmanship.
Hair was pin-straight, sleek, parted sharp. Eyes bronzed. Nails metallic. Accessories? Tiny, almost invisible hoop earrings and one ring. The restraint said it all. This wasn’t a maximalist moment. It was a controlled burn.
Some red carpet looks scream for attention. Becky’s just looked straight back and didn’t blink.
Halle Bailey wore a ruched red halter gown with sculpted details at the 68th GRAMMY Awards Pre-GRAMMY Gala in Beverly Hills in January 2026.
At the 68th GRAMMY Awards Pre-GRAMMY Gala & Industry Salute in Beverly Hills on January 31, Halle Bailey delivered a look that felt both grounded and glowing — no embellishment, no theatrics. Just form, color, presence.
She wore a sleek red halter gown , fitted through the torso and ruched gently at the waist. The fabric clung, not tightly, but with control — like it knew exactly where to sit. A gathered detail wrapped at the hips, drawing the silhouette inward before letting the skirt ease into a soft column. No train, no drama. Just enough textile to move with her but never distract.
The neckline ran up into a clean halter, opening the shoulders and showing off her collarbones with quiet precision. Her signature locs were styled into a high ponytail, neatly braided close to the scalp and leaving her face fully defined and uplifted. Matching silver hoops and rings were the only accessories. Makeup stayed luminous and honest — warm contour, soft copper shimmer, bare lip.
It wasn’t a look at me gown. It was more I’m here, and you see me.
Red dresses aren’t bold by default — they’re only as strong as the woman inside them. Halle didn’t just wear this gown. She knew how to walk in it.
