Taylor Momsen returned to her familiar rock uniform for The Pretty Reckless' July 31 performance at The Wiltern in Los Angeles, wearing a blue tartan miniskirt, a white lace-trimmed tank, fishnet tights and towering black platform boots. Layered necklaces, an oversized biker jacket and heavy black eye makeup completed a stage look that felt unmistakably hers while remaining practical enough for a full concert.
The Los Angeles show was part of the band's Dear God Tour, named after The Pretty Reckless' fifth studio album. Dear God was released on June 26, 2026, shortly before the North American tour began.
Momsen's outfit relied on familiar punk and grunge references, but its proportions kept it from feeling like a literal revival. The pleated tartan skirt sat low on the waist and ended high above the knee, while the fitted white tank created a narrow line through the torso. Black fishnets connected the short hem to the substantial platform boots, preventing the lower half from looking visually disconnected.
The tank also introduced a lingerie-inspired detail through the white lace visible around the neckline. Against the heavier leather, plaid and thick-soled footwear, the delicate trim softened the outfit without changing its overall mood. It was a small contrast, but an effective one.
Over the tank, Momsen wore a checked layer beneath an oversized black biker jacket. The jacket's loose cut widened the shoulders and gave the outfit more volume, balancing the abbreviated skirt and fitted top. Its long sleeves extended over part of her hands, adding to the intentionally undone quality of the styling.
That layering proved useful during the performance. Momsen appeared in the jacket while singing at the microphone, then removed it while playing guitar. Without the outerwear, the simple structure of the outfit became clearer: white fitted top, tartan skirt, fishnets and boots. The look did not depend on the jacket to hold together, allowing her to adjust it as the show progressed.
The blue tartan was the only strong color in an otherwise black-and-white palette. Thin yellow and red lines running through the plaid added further contrast without competing with the dark base. The pattern gave the outfit a school-uniform reference, but the styling pushed it firmly into rock territory.
Platform lace-up boots anchored the look. Their exaggerated soles provided height while maintaining a sturdier visual presence than a conventional heel. Paired with black socks and fishnet tights, the boots extended the darker color from the floor upward, allowing the blue skirt to remain the central break in the silhouette.
The footwear also made sense for a stage performance. Momsen moved between the microphone and guitar while wearing a shoe that looked dramatic without introducing a narrow heel. The platforms carried the weight of the outfit while supporting its practical demands.
Her jewelry was intentionally abundant. Multiple chains and pendants fell at different lengths across the white tank, including several cross-shaped pieces and larger metal forms. The layering created movement as she performed and filled the open neckline without requiring a single polished statement necklace.
The jewelry also contributed to the outfit's sense of accumulation. Nothing appeared overly coordinated or symmetrical. Chains crossed one another, pendants sat at uneven points, and the pieces moved freely rather than remaining fixed against the clothing. That looseness matched the styling of the jacket and hair.
Momsen wore her long platinum-blonde hair down in an intentionally unstructured finish. Rather than a sleek concert style, it fell across her face and shoulders as she moved, becoming part of the performance. Under red and blue stage lighting, the pale hair provided a strong visual contrast with the black leather and dark makeup.
Her beauty look centered on heavily smoked eyes, with black shadow extending across the lids and beneath the lower lash line. The makeup was deliberately more dramatic than a conventional red-carpet smoky eye, designed to remain visible under concert lighting and from a distance. A comparatively neutral lip kept the attention on the eyes.
The Pretty Reckless' Wiltern date followed the release of Dear God, an album the band's label describes as its fifth full-length studio record. The Los Angeles concert was officially billed as part of the Dear God Tour.
Momsen did not use the new album cycle as an excuse for a total visual reinvention. Instead, she returned to the pieces that have long supported her stage identity and adjusted their proportions: the jacket became larger, the boots became heavier and the plaid introduced a sharper flash of color.
Onstage, that consistency worked in her favor. The clothes remained recognizable without becoming static, changing as layers came off and the performance moved between singing and guitar. The result was less a carefully preserved costume than a working rock wardrobe—built to move, shift and look better once the show was fully underway.
