The 2019 Primetime Emmy Awards: Fashion Review

It's red carpet time again! Last night, I watched the Primetime Emmy Awards - well, I watched most of it. The writing was so terrible that I didn't even make it all the way to the end. The fashions weren't terrible, but they did seem to be somewhat...restrained, although there were a few notable exceptions. And there were most definitely a few trends. Here are some of the looks that caught my eye, for good or for ill.

The Reds and the Pinks
The red-pink combo was a popular look last night, appearing in a variety of silhouettes and styles.

Mandy Moore's gown paired a soft, cranberry red skirt with thigh-high slit and short train with a Barbie-pink satin bodice with an off-the-shoulder portrait neckline and 3/4-length puffed sleeves. Although the bodice was low enough to look a bit precarious for me, the particular shades of red and pink worked better together than some others, and I liked the mix of satin and matte fabrics. I loved the coordinating satin sandals, softly waved hairstyle, and natural makeup. Overall, a good look. 

Marisa Tomei's dress was a combination of a more vivid, "true" red and a nearly magenta shade of pink, which I didn't love, but I did love the way the two fabrics were swirled together, with the red predominating in the skirt and a bit less so in the bodice, but the pink taking center stage in the shoulder and waist drapes. The silhouette was lovely and flattering, and moved beautifully. The intensity of the colors worked well with her dark, sleek hair and fair complexion, and her lipstick managed to work with both shades. A very pretty if not outstanding look. 

Susan Kelechi Watson's dress was less successful for me. The base of the dress was a basic red strapless column with just a bit of flare in the skirt, which would have been fine except that it was too tight across the hips, which created unflattering stretch lines at the crotch (always a hazard with snugly-fitted dresses made of soft, drapy fabric). The shoulderless sleeves were pale pink satin poufs trimmed with long ribbons. The way the top of the sleeves angled outward made the whole dress appear droopy, and the poufs were bottom-heavy, giving the sleeves a weightiness that didn't coordinate with the floatier fabric of the rest of the gown. It looked like the sleeves were a last-minute addition that wasn't completely thought through. Slightly sturdier fabric in the dress and slightly lighter fabric in the sleeves and it might have worked.

Taraji P. Henson's gown had a bit of a Grecian-inspired look, with a beautifully draped and wrapped chiffon base in purplish-pink, cinched in with a sparkly, narrow belt, with the shoulders and part of the bodice in red, and long red panels forming a sort of cape. I loved everything about the dress except for the placement of the seams that connected the red and pink, which was just below the fullest part of the bust. Had the entire bodice been red, or if the seams were closer to the shoulders (more like a red yoke), I think the color transition would have looked less abrupt. But Henson clearly loved the gown, and she certainly made it work.

Gold and Silver Metallics
Metallic fabrics echoing the award statuettes themselves have always been popular on the red carpet, and the Emmys were no exception.

Isla Fisher was luminous in a pleated silver off-the-shoulder gown. The style was simple and elegant, with a cross-over, wrapped bodice and a tiny flare at the base of the skirt. With her strawberry blond hair, I was surprised at how flattering the silver was on her. I liked the pop of color in her bright lips and her sideswept hairstyle. Elegant and lovely. 

Natasha Lyone, on the other hand, chose a crinkled gold gown in a style that unfortunately came off as dated and matronly. Although the base of the gown, which was slightly bloused in the bodice, cinched in with a wide sash, and clinging from the waist down, was lovely, the addition of puffy sleeves with overly-long cuffs and a high neck with a large bow and heavy trailing ribbons, was reminiscent of officewear of the early 1980s. Rip off those sleeves and that bow and it would have been a nice look on her. Based on her expression on the red carpet, she seemed to agree that it wasn't her best look. 

Julia Louis-Dreyfus followed her usual formula of wearing a metallic column with a plunging neckline, a narrow self-belt, and a high slit, paired with long earrings and hair pulled partly back with a severe center part. It was a fine look, but a bit predictable. But I guess after you've won eight Emmys, the whole thing is a bit predictable. 

Black and White

Both all-black gowns and all-white gowns have always been popular on the red carpet, but of late, black-and-white combinations have been more and more trendy. 

I liked Catherine O'Hara's color-blocked black-and-white column. The simple design, with high round neck, long sleeves, and just-above-the-knee slit, was flattering, and the blocks of black and white added just enough visual interest to avoid being boring. I think it would have been more flattering if she were currently brunette (although she is rocking the platinum blond!), but I loved the bright pink lips and crazy high shoes. 

Viola Davis' black-and-white gown was a pretty black strapless column topped with a single-shouldered white overlay that gathered in at the right hip. The silhouette was lovely and flattering, with pretty accessories like a multi-strand pearl choker, a white clutch, and big curly hairdo. What I didn't like was the color choices for her makeup (blue eyeshadow and deep purple lipstick) and thick-soled sneakers (thankfully hidden in this photo) that caused her to walk like a trucker. It was one of those looks that looks good in a still photo but isn't nearly as flattering in real life when the wearer has to walk and sit down. 

The opposite was true of Phoebe Waller Bridge's stunning white tulle ballgown with plunging neckline - it was much lovelier than this picture indicates.Waller Bridge's alabaster skin and dark brown hair were perfectly set off by the barely off-white gown, which was trimmed at the waist with silver glitter and the narrowest of silver belts. The bodice was perfectly tailored and the skirt simply floated as she moved. This was definitely one of my favorite looks of the night. 

Padma Lakshmi opted for the simplest of the simple in a striking white, clinging, halter-style gown with a short train. The dress hugged her perfect figure, and her choice of a sleek, slicked-back hairstyle and subtle makeup let her natural beauty be the star. 

Patricia Arquette opted for a white gown that was loose and draped, which unfortunately came off as somewhat matronly. The white was a perfect pick for her icy blond coloring, but the high neck, long full sleeves, and droopy bodice just didn't work for me, I think in part because of the heavy knit fabric. Something a little floatier with similar lines would have been a better choice. I did love her severe, heavy bangs and natural makeup, but her gown was a fail for me. 

I had to look at Sian Clifford's white column for quite a while trying to decide if I loved it or if I hated it. I loved the simplicity of the column and the intricate silver beading on the arm panels, but the whole thing felt a bit too stiff for my taste. A little more softness in the fabric of the gown that allowed for just a bit of movement, and I think this would have been a win for me. 

Amy Adams' gown was a transparent black, patterned overlay over a narrower nude column. The peekaboo feel of the overlay and the deep v-neck were a nice contrast to primness of the long, full sleeves and the wide lapels. This gown was an excellent example of how voluminous sleeves in a lightweight fabric are more flattering than heavy poufs. A lovely, elegant, and unusual look. 

Kelly Osborne's solid black column, on the other hand, was an example of how heavy fabric with a lot of body can work well in the right style. Her gown had a horizontal keyhole just above the waist, echoed by a gap between the top of the bodice and the structured capelet that topped the gown. Her hair was a pretty shade of deep lavender (surely it was no coincidence that it was the exact shade of the carpet) that was nicely set off by the severe black, and the whimsical hair bow was a cute, unexpected detail. The one thing I disliked about the gown was that, as beautifully fitted as it looked when she was standing still, when she moved, the bodice and capelet didn't have quite enough give, and her cleavage bulged out from the gap between them. But overall, I did like this look. 

Sometimes a simple gown can become stunning due merely to the choice of fabric, and Betty Gilpin's star-studded ballgown was a good example. The gown was a standard off-the-shoulder ballgown silhouette, with a snugly fitted bodice showing off her tiny waist, and a beautifully flared skirt with a small train. But the cascade of sparkles which lessened from bodice to hem made this gown truly eye-catching. 

Maisie Williams' black gown also featured some star-studded fabric. Her gown intrigued me in that it was almost 2 different gowns pieced together, yet somehow it still worked. The left half of the snugly-fitted bodice was plain black satin, with a glittery crescent moon at the hip gathering a long fullness of soft fabric falling to the floor, whereas the right side was spangled with silver dots that continued, fitted to the hip, ending in a mid-calf length transparent polka-dotted overskirt over an opaque thigh-length solid black underskirt. It shouldn't have worked, but somehow it did. 

Nathalie Emmanuel was yet another star-spangled black gown, although the cut of her gown provided plenty of visual interest. The bodice was a modified halter style, with a triangular, all-silver panel from collarbone to waist topping an all-black bandeau that attached to the skirt only at the front, leaving wedge-shaped cutouts at the waist, and the skirt itself was flared and solid black except for a front panel with silver stars that lessened in number from waist to hem. I liked the peekaboo style, which was sexy without being revealing, and I liked the mix of solid black, solid silver, and silver-spangled black areas. A pretty, flattering and different-without-being-weird look. 

Icy Blue and Icy Green

Ever since Grace Kelly wore that iconic ice-blue satin gown to the 1955 Oscars, icy blues and greens have been popular on the red carpet, and the Emmys were no exception. 

Brittany Snow's strapless icy blue chiffon ballgown had a simple silhouette; fitted to the top of the hip, then flaring out to a full but soft skirt. I felt like the fitted bodice ended at a strange spot, lower than the waist but not quite as low as mid-hip, but the skirt flared gradually enough that it didn't bother me too much. I did find the overall look pretty but a little blah. Perhaps just a bit more blue and a bit less gray in the color might have perked it up a bit. 

Jameela Jamil proclaimed her look "over the top," but I thought it hit just the right notes. The way the bodice wrapped around and went almost over one shoulder, leaving just a tiny peep of skin at the waist, reminded me of a sari, a nice nod to her Indian and Pakistani heritage. The skirt was structured and full in true ballgown fashion, and although it did show some wrinkles and the hem was just a hair too long to skim the floor as it should have, the dress was nicely tailored and suited her gorgeous coloring and tall stature. 

Sarah Goldberg's long-sleeved, boat-necked, sashed column reminded me just the tiniest bit of some polyester chorus dresses I wore in the 1980s, but she somehow made it work. The fabric had just enough sheen to catch the light and bring the color to life, and the fullness of the skirt at the side created a pretty line. It looked simple and comfortable, but Goldberg managed to make it look glamorous as well. 

Regina King wore a lovely ice-blue halter, with a high neck, a narrow silver belt, and a full skirt with a long slit and a long train. I liked the little details of narrow straps at the shoulder and self-color spangles at the top of the bodice, as well as King's flippy, side-parted hairdo and subtle makeup. A truly elegant and glamorous look.

Pants
It used to be that the only version of pants women ever wore on the red carpet was a daringly female-tailored tuxedo. But now, pants, pantsuits, and jumpsuits in all kinds of styles regularly make appearances.

Although I liked Amy Poehler's gold lame jumpsuit in concept, the execution fell a bit short. The pants are a little too wide and too long for such a petite woman, and the gathering at the waist is not flattering on her slim but not narrow-waisted figure. The black scarf at the neck was an interesting touch, but given how similar her hair and skin tones are to the gold fabric, a touch of warm color might have been more flattering on her than black. It's cute, but we've seen her in much more flattering styles.

Angela Bassett looked absolutely amazing in this striking red pants ensemble. The pants were high-waisted, made even higher by an extra-wide waistband, and the off-the-shoulder curved top trailed into a long scarf that fell to the floor, and revealed the tiniest peep of skin. With gorgeous full curly hair and stark makeup that emphasized her amazing cheekbones and almond-shaped eyes, Bassett was FIERCE. 

Kerry Washington paired a simple white cotton shirt with popped collar and folded-back cuffs with a pair of snugly-fitted black sequined pants. Topped with a high ponytail and natural makeup, she should have looked too casual for the red carpet, yet she still looked just as glamorous and "done up" as anyone else wearing a ball gown. Win. 

Laura Linney's red carpet fashions are very much hit-or-miss for me, and if you had described this look to me, I probably would have called it a miss. And yet, the combination of what is essentially a metallic silver, single-sleeved column dress, gathered over one hip and worn over wide-legged black trouser pants, actually works for me. It doesn't hurt that her natural hair and makeup are sheer perfection. I'm genuinely surprised at how much I like this ensemble. 

Melanie Liburd's black-and-white outfit is another combination that doesn't sound like it would work on paper, yet turns out being fun and elegant in reality. She paired simple black trousers with a black peplum and black sequined sash with a strapless gathered white tulle bodice and a long, full white tulle train. It was a little 40s, a little 50s, even a little 80s with the high ponytail, but Liburd sold it well.

Miscellaneous
There are always some styles that don't follow the current trends, for good or for ill. Here are some looks that didn't fall neatly into any of the "trendy" categories.

Anna Chlumsky's strapless floral column was another dress that looked pretty on the red carpet, but tended to fall short as she moved. I liked the fullness of the skirt, especially as the floral pattern seemed to change as the gathering opened up, but her figure is so straight that the bodice looked like a 1970s tube top. I like Chlumsky a lot, and I get the impression that she's not really a gown-wearer, so I appreciate that she really made an effort here. And it's fine! But I think she would be more flattered by a bodice that adds a bit of fullness or volume at the bust. But I do love her feminine makeup and full curls.

Emilia Clarke looks adorable in anything, but she really has the right kind of figure for this midnight blue gown with what I like to refer to as a "suspender-strap bodice." You have to have a nipped-in waist but a small bust to avoid looking like a wardrobe malfunction about to happen, and that's exactly what Clarke has. I love the teeny peplum and the bow-tied sash, I love the train at the back that barely reaches the floor, but most of all I love that it has pockets and still looks great when she puts her hands in them. Another of my favorite looks of the night.

Alex Borstein went full-on 40s glam in this fabulous vivid purple wrapped gown with its sweetheart neckline (delightfully emblazoned with her initials) and accented by silver pointy-toed pumps and a gorgeously rolled updo. The deep purple is sheer perfection with her dark hair and fair skin, and the style is deliciously va-va-voom on her voluptuous figure. A really fun retro chic look. 

Kristen Bell's dress was very close to being a win for me, but I was really bothered by the straps that came in horizontally under the arms. The bodice just looked too much like an apron - or, even worse, a bib - that was supposed to have a shirt underneath it. That said, I adored the black skirt with shots of glittery colors running down it, and I loved the bolder bands of the same colors running down the bodice and around the neckline. But the bare skin at the sides and the bands coming in under the arms ruined the whole look for me. 

Laverne Cox can - and does - pull off looks that not many others can, and this lavender-and-black ballgown is definitely one of them. The layers upon layers of voluminous gathered tulle in the skirt would overwhelm most wearers, as would the giant black rosette on the right shoulder. But between Cox's height, her perfect posture, and her confidence, this was an absolutely amazing look.

Gwendoline Christie also has the height and the presence to pull off a lot of looks that others might not, but her Grecian-inspired look just didn't work for me. It reminded me too much of what King Herod wears in every children's Christmas pageant ever. I suppose it's flattering and well-tailored, but it just looks completely out of place at an awards show. Perhaps the intense coral lipstick was intended to add glamour and femininity, but it just drew the eye and overwhelmed her face. Too much costume, not enough couture. 

Michelle Williams wore another gown that paired a simple, predictable silhouette with a visually interesting fabric that made the whole look work. Not only was the column perfectly tailored to her figure, with the top of the bodice and the waist falling at just the right level to stay in place as she moved, the hints of deep turquoise throughout the busy, swirling pattern of the fabric were perfectly complementary for Williams' pale skin and platinum locks. The fabric was busy enough that the simple hairstyle and lack of accessories was exactly the right choice. 

Sophie Turner opted for a wrapped column of ice-pink satin. It was nicely tailored (although the waist was just a bit high for my taste), and I liked the way the front of the skirt angled back to reveal a bit of leg and Turner's strappy silver sandals. The diamond collar didn't really complement the gown, in terms of both length and (lack of) color, but it wasn't bad. I might have gone with a longer chain with a single, large, teardrop-shaped ruby or sapphire for a hint of color. But overall, a very pretty, if not especially memorable, look. 

Zendaya's dramatic emerald-green gown had beautiful structure. I loved the swirling panels of skirt that revealed her gazelle-like leg, but I didn't love the pseudo-transparent bodice. I'm rarely a fan of boning showing quite that much in a bodice, and up close, the lining seemed to be ill-fitting and wrinkled. Perhaps if the bodice had been lined with light green or even vivid coral instead of nude, I would have liked it better. But it was still flattering and interesting.

The Men
Most men at a red carpet event wear some variation of a basic tuxedo, with perhaps an unusual color or fabric, skinny trousers vs. wide-legged, wide lapels or no lapels, but still a tuxedo. But sometimes there are a few men who get creative enough to catch the eye. Here are the men who caught my eye last night.

Billy Porter is always worth looking for on the red carpet, and he did not disappoint. His double-breasted jacket with high lapels and wide-legged, extra-long trousers (and platform shoes allowing them to be even longer) had sparkling silver pinstripes that caught the light beautifully as he moved. The fabric was light and airy yet still nicely structured. In lieu of a necktie, Porter wore a long black chiffon scarf that hung nearly to his knees, which nicely echoed the floatiness of the suit. The oversized asymmetric hat was a little jarring for me, as it seemed like it should tip his head over to the left, but the idea was good even if the execution was a bit off. But all in all, a classy but still avant-garde look.

James Van Der Beek wore a coral velvet double-breasted tux jacket with a bow tie in a slightly darker shade and a dress shirt in a slightly lighter shade, paired with standard tux pants and tan suede shoes with no socks. I wish he'd managed to find suede shoes the color of the bow tie, and I always wish they wore socks, but other than those minor objections, I find this a fun and elegant look. Oh, and bonus points for the boutonniere!

It's not easy to describe what Karamo Brown was wearing. It was more than a shirt, but not quite a jacket, and although it wasn't much to look at when he was just standing there, when he moved around or the breeze picked up, the trailing black and white chiffon strips attached to the front and back yokes of his shirt were absolutely glamorous and sexy. The slightly flared, cropped pants and black boots reminded me of a young Captain Kirk, and the lines of the shirt somehow had a Han Solo/Lando Calrissian vibe, so I'm calling this a sexy space cowboy look and a big success.

I don't think anyone other than RuPaul could have made this pale pink satin suit emblazoned with black poppies work, but I absolutely loved it on him. The black satin lapels and high-necked black shirt framed his face and brought the focus back up, and the aqua glasses frames were the hint of a "poison color" that I love so much. Just spectacular. 

Terrence Howard's cobalt blue satin pants were fantastic, and I loved the layered white-over-black double shirt with its french cuffs tied with black ribbons. I loved that the dark metallic brocade vest had cobalt blue satin lapels matching the pants. But I didn't love that the vest was too tight and bunched up instead of skimming his body. Great ensemble, bad tailoring.

Tan France's outfit was a nice nod to his Pakistani heritage, with a short bolero jacket with mandarin collar and matching wrapped skirt, both made from an incredibly elaborately embroidered fabric, worn over black pants and accessorized with polished black boots and a series of gold chains that tied in to the gold trim of the fabric - and of course, his beautiful trademark salt and pepper hair. It was a distinguished and unique look, leaving no doubt as to his status as a fashion expert.