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.
Laura Dave wore a chocolate turtleneck sweater with matching wide-leg trousers at Apple TV’s Santa Monica Press Day in February 2026.
At the Apple TV Press Day in Santa Monica on February 3, 2026, Laura Dave walked into the softly lit space looking like she brought her own quiet. Head-to-toe brown. Not flashy. Not styled within an inch of its life. Just comfortable, real. She wore a chunky knit turtleneck sweater in a warm chocolate tone—loose enough in fit to look lived-in, but firm enough to avoid slouchiness. The sleeves hung slightly long, bunched around the wrist, like she’d maybe pulled them down impulsively in a cold room.
On the bottom, slightly shinier wide-leg trousers , still in that same tonal world. Dark brown, soft drape, no belt. Nothing tucked. Shoes weren’t fully visible, but the hem skimmed the carpet, settling without a crease. Hair tucked gently behind the ear, parted softly.
No earrings shouting for attention. No bag. Just a small silver ring. She didn’t dress for the camera—but that’s what made this event appearance feel grounded.
In a sea of curated press-day polish, this look breathed like real clothing worn by a real person.
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.
