Jenna Ortega twists McQueen tailoring into gothic workwear at Wednesday event

Jenna Ortega made McQueen tailoring look less polished, more armed for the night. At Netflix’s Wednesday FYSEE stop at Hollywood Forever Cemetery in Hollywood, Los Angeles, she wore a gray pre-fall 2026 suit from Seán McGirr’s McQueen, styled by Enrique Melendez with assistance from Alyssa Rabie, and the clothes did the talking before she did.

The jacket was the point of attack: cropped, double-breasted, cut with strong shoulders and wide peak lapels, then broken open by a raw, frayed hem that made the tailoring feel unfinished in the most deliberate way. Beneath it sat a white high-neck corseted piece, laced down the front like a piece of armor from a more elegant, more severe era. Paired with matching trousers, the look turned a suit into something harder and stranger, a reminder that McQueen’s house language still thrives when it resists smoothness.

That matters because Ortega’s best fashion moments have always understood the power of restraint with a bite. Here, the workwear references were not literal, but they were clear in the rough edge of the hem, the utility-minded structure of the jacket and the sense that this suit had been cut to survive pressure, not just photographs. It was gothic dressing filtered through tailoring codes that feel increasingly industrial: less clean utility, more damaged precision.

The setting only sharpened the effect. Hollywood Forever Cemetery gave the Wednesday event a fitting backdrop, and Ortega arrived alongside Catherine Zeta-Jones, Miles Millar and Alfred Gough as Netflix used the FYSEE LA 2026 festival to spotlight its 2025-2026 slate across Los Angeles. The citywide run stretched from May 3 to May 22, and the Wednesday appearance landed squarely inside that final stretch, as the series kept pushing its Emmy campaign after season two’s release last August.

For readers tracking where workwear is headed next, Ortega’s suit offered the clue. The trend is moving away from clean, softened utility and toward tailoring that looks used, laced, and a little dangerous. In McQueen’s hands, the fray is not a flaw; it is the finish.