2024 Screen Actors Guild Awards Red Carpet Review

Once again, I missed the actual awards ceremony last night but I caught up with the red carpet looks this morning. Interestingly, the color palette of the gowns was limited to mainly black, white, red, and metallics, with only a handful of looks venturing out into other colors. So that's how I've categorized them here!

Black

Many of the looks were traditional all-black ensembles, accented with beading or structural elements; a handful had a pop of color in a lining, a ruffle, a shoulder accent or some embroidery; some were technically not quite black but rather a deep midnight blue or plum. Here are the looks that at least started off with basic black. 

Margot Robbie continued her Barbie-themed red carpet looks by pairing a black micromini tube dress with a voluminous bubblegum-pink - or, rather, Barbie pink - over-the-shoulder ruffle that fell to form a train, cinched in with a matching pink sash. Although I liked the way Robbie's soft blonde waves over one shoulder paralleled the ruffle, the overall look was too disproportionate and cutesy for my taste. But Robbie pulled it off well, and I did love her diamond anklet. 

Taraji P. Henson went much more traditional in a fitted black strapless column with a broad and deep v-neckline, with a wrapped waist detail that formed a short loop at the hip before falling into a narrow train. Her gorgeous diamond jewelry included a wide cuff bracelet, several large rings, a low choker with a dangling pendant, and a studded ear cuff. Very elegant.

Danielle Brooks wore a "half-and-half" look, with the right side being a tux jacket top that fell to the floor as a straight skirt, and the left side being a sleeveless black gown with a narrow angled strap and a deep purple satin skirt layered with frothy ombre ruffles in various shades of lavender. The concept was interesting, but the visual balance was off for me. Having the palest color at the bottom of the voluminous skirt draws the viewers eye to the ground and adds too much visual weight to both the bottom and the side. If there were no train, and if the palest ruffle were a few shades darker, this look would have been much more effective. 

Penelope Cruz wore a midnight blue gown with a shiny, fitted off-the-shoulder bodice trimmed with a pleated tulle ruffle that echoed the tulle A-line skirt. The top of the bodice was studded with pearl beading, and I loved that she opted for only earrings and rings rather than a necklace, which allowed the gown to (literally) shine.  

Quinta Brunson, on the other hand, chose a Y-shaped diamond necklace that perfectly set off the deep narrow plunge of her black column. The fabric was gathered in to the center of the bodice, creating graceful radiating lines, and also forming soft draping at the sides of the bodice.  A lovely and elegant look. 

Jessica Chastain wore a simple black lace A-line gown with a v-neckline. A very simple cut, but lovely and flattering, and it really set off the beauty of the lace. A terrific example of letting the fabric be the star. 

America Ferrerra wore a pretty, if slightly boring, black sleeveless gown with a slightly curved neckline and white chiffon shoulder drapes. It was pretty enough, but not particularly memorable. I would have loved a pop of color in the shoulder drapes or in a statement necklace to give it a bit more pizazz.

Tracee Ellis Ross looked fantastic in a black-and-gold column skirt topped with an impeccably tailored short-sleeved black velvet jacket with large gold buttons. Tres chic! 

Ali Wong opted for true haute couture in her black column with a sheer yoke studded with crystals and topped with a structurally impressive fountain of glistening white diamonds. I loved the look, although her center-parted, pulled-back hair and clear glasses frames gave an old-fashioned librarian vibe that didn't quite work with the dress.  

Sheryl Lee Ralph wore a midnight blue satin strapless ballgown with an asymmetrical bodice and a wrapped skirt that opened into a deep slit. Her hair and makeup were as amazingly perfect as her gown. This was one of my favorite looks of the night. 

Alex Borstein always looks vaguely uncomfortable in red carpet wear, but I really liked this gown on her. The sheer black top was overlain with appliqued black flowers that wrapped around one sleeve and the bodice, leaving the other arm and shoulder sheer, which was just gorgeous, and the simple black skirt had a flatteringly high waist and a gorgeous pop of dusty blue chiffon along both edges of the thigh-high slit. This is probably my favorite red carpet look of hers, ever.  

Storm Reid also made great use of pops of color in the beaded roses running up the front of her black velvet kimono-inspired gown. I loved the band of green beading all along the edges of the front opening and the band holding the front closed, tying in with the flower stems. And although I would have chosen bright shoes in a color that matched the beaded roses, somehow the pointy red pumps totally work. 

Laverne Cox wore a gown accented with metallic gold cording rather than color. Her look paired a sheer black, high necked top over a black bra, topped by a vintage bolero jacket with military-style gold trim and a slightly flared skirt with a gold-trimmed panel at one hip. One of the few things I didn't love about this look was the stacked black necklaces and one long necklace that fall past Cox's waist. The latter made it look like a large visible seam down the front of the sheer blouse, and the former reached so high up to Cox's chin that it looks stiff and uncomfortable. But other than that, this was a great look. 

Nischelle Turner

White

White, along with shades of ivory and pale blush hues, are generally less common on the red carpet, but we saw a number of lovely (and a few...not so lovely) white gowns at the SAG Awards. 

Kathryn Hahn wore an ivory satin gown with a fitted bodice and a slightly full skirt that had a beautiful silhouette, but the bodice was then covered with a strange black wrap just above her elbows. I loved her sheer black opera gloves, but the wrap was just oddly placed and broke up the line of the dress in a very disproportionate way. 

Da'Vine Joy Randolph wore another of my favorite looks of the night in a (forgive me) divine off-white (with just a hint of golden undertones) satin gown that wrapped diagonally from bust to hip, with slightly asymmetrical ruffle details at each shoulder. The accents were large but perfectly proportioned, and the way the wrapped fabric hugged her curves then the skirt flared into a train was absolutely chef's kiss*.

Selena Gomez wore a very simple white sequin sheath with a shallow scoop neckline, narrow straps, and a hint of flare just above the knee. It was lovely and impeccably tailored but perhaps a little too simple for the red carpet. A statement necklace with a pop of color or an elaborate updo might have added the little extra touch needed to make a good but bland look great. 

Issa Rae wore a clingy, blush pink halter gown that was also a very simple cut, but that worked much better due to the interesting lines created by the criss-cross halter straps. The wide diamond cuff bracelet was also a lovely accessory. This is a good example of how just one or two small details can make a world of difference in the success of a look. 

Greta Lee, on the other hand, is a good (bad?) example of how the wrong accessories can detract from an otherwise good look. The fabric of her off-the-shoulder, loosely fitted gown has an interesting texture, with small 3D petals, but the heaviness of the black, apparently leather, elbow-length gloves look out of place. Sheer black gloves would have been more in keeping with the dress; even better, flecked with white to be the reverse of the dress fabric. 

Maddie Zeigler wore a single strap ivory gown  that was wrapped with strangely tattered-looking fringe, with a ragged hem trailing tatters to the floor. The overall silhouette wasn't bad, but the tatters made her look like a refugee from a low-budget zombie movie. Just awful. 

Elizabeth McLaughlin wore a pure white long-sleeved jacket dress with oversized shoulder pads, a bodice that plunged to the waist, and a slight angle front slit. McLaughlin has the right type of figure for a broadly plunging neckline: curvy enough to be flattered but slight enough to be contained. And the pure white was fantastic with her gorgeous red hair. 

Red

Of all the colors we see on the red carpet, red itself is the most classic. And there were plenty of shades of red last night, from vivid scarlets through deep, rich brick reds.

Reese Witherspoon set the tone in a lovely true red wrapped strapless sheath with a curved neckline and a side front slit that showed off matching satin mules. Witherspoon eschewed any showy jewelry and wore a simple, soft hairstyle and natural makeup, resulting in effortless-looking glamour. 

Emily Blunt, who is generally one of my favorites on the red carpet, did not do it for me at the SAG awards. She is slender but not curvy, and the way the front opening of her gown flared at the waist negated her curves inside of accentuating them. I also hated her pale lips and overdone eye makeup, which made her look tired and grumpy. A rare misstep for a gorgeous and usually fashionable celeb.

Fran Drescher opted for a darker burgundy shade of red in a spangled wrap gown with square shoulders and a sheer overlay. I loved the peekaboo effect of the deep slit in the underdress covered by the sheer overlay, which both showed a lot of leg and covered up. And her diamond necklace is gorgeous. 

Halle Bailey also wore a burgundy gown, in her case a strapless mermaid style with ruching across the bust and forming a graceful wrapped pattern to just above the knee, where the gown flared out into a swirly skirt. Her fabulous diamond necklace and glowing smile were the perfect accessories to a perfect look.   

Hannah Waddingham wore a clinging metallic cranberry red off-the-shoulder gown with  just a hint of wrapping forming diagonal lines, with a thigh-high slit and a short train. It was fabulous for her figure, a great color on her, and it looked remarkably comfortable. Winner!

Hannah Waddingham

Lily Gladstone wore a fringed halter column in vivid red that evoked her indigenous heritage with rows of fringe that angled up at the front, and her stunning beaded earrings which echoes the same gracefully angled lines. A wonderfully unified look that was both traditional and contemporary. 

Ariana Greenblatt wore a deep cranberry velvet ballgown with a basic, full skirt and a scoop-front bodice with high points. The simple, unfussy design allowed the gorgeous fabric to take center stage.  I might have added a little more sparkle in a simple necklace or glittery cuff bracelet, but it was still a terrific look. 

Metallics

Somehow, competition for a sparkly metal statue always brings out sparkly metallic gowns, and the SAGs were no exception. Silver and gold were both well represented. 

 

Emma Stone looked positively radiant in a silver embroidered gown with a barely flared skirt and a short train, with just a hint of soft blue at the hem. The elaborate swirls of the embroidery and the shimmer of the fabric is all the sparkle needed, so minimal jewelry was the right choice, as was her simple chignon and bright red lips. Sheer perfection.   

Jennifer Aniston also wore a shimmery silver gown, with a plunging front, a thigh-high slit, and just a little hint of a train. The tiny detail of a single angled seam from waist to hip and the sparkly textured fabric itself provided plenty of visual interest, and Aniston's plain black clutch and vivid blue eyes were the perfect pops of contrast. 

Carey Mulligan wore an impossibly smooth gold strapless column that twisted in slightly at the waist and featured a structured drape at the hips that was perfectly proportioned to avoid looking bulky. I don't know what kind of witchcraft was involved to avoid a single wrinkle - perhaps Mulligan levitated onto the red carpet instead of riding in the back seat of a limousine - but color me impressed. Her sleek, chin-length bob and heavy diamond choker are the perfect finishing touches. 

Melissa McCarthy also wore a smooth gold lame gown, but hers was less well-proportioned. The body of the dress was fine; I like that it skimmed her figure instead of being overly tight or tailored, but the voluminous sleeves dragged the viewer's eye down and away from her face, which was an especial shame since her hair and makeup were fabulous. Swap those yards of baggy sleeve for sheer, fitted sleeves and this look would have been a winner. 

Elizabeth Debicki looked ethereal and willowy in a sleek silver backless column. I loved her long, straight, sideswept hair and neutral-toned makeup. If I had one quibble, it would be that the sheer lace at the top of the bodice vanishes into her skin tone, making the bodice look like it's sitting too low on her body, but that is truly a minor quibble on a really nice look. 

Miscellaneous

Although there are trends on the red carpet, there are always exceptions. Here are some of the notable looks that bucked the evening's trends. 

Ann Hathaway's vivid blue gown had an off-the-shoulder sweetheart neckline with a horizontal slit over a super-wide self belt with a giant buckle, and a flared skirt with a short train. Although I didn't love the combination of the front slit and the belt, either one would have worked. What I did love, however, was the beautiful seaming on the front of the bodice, the silver clutch, and the beautiful Y-shaped diamond choker. Fantastic. 

Brie Larson showed off her impressive abs in a two-piece taffeta gown with a long-sleeved jewel neck crop top and a super-full skirt with a twist of fabric at the waist that echoed the twist front of the bodice. The color worked surprisingly well on her, and although the skirt was a little wrinkly, it still looked graceful and feminine. 

Ciara wore a chocolate brown shiny vinyl ensemble consisting of a strapless bodice with a wrapped skirt with a thigh-high slit topped with a long-sleeved, high-necked shrug with super square shoulders. I loved her huge stacks of bangle bracelets, super-long earrings, and long natural hair, but the overly shiny fabric looked hot and uncomfortable, and the super-square shoulders gave a 1970s space alien vibe that didn't work for me. 

Ayo Edibiri wore a bias-cut black-and-white check dress with draped sleeves and long side panels. I found the combination of the busy pattern and the voluminous side panels to be a bit overwhelming, but it wasn't terrible. Lose just a little of the volume and make the checkered print a little larger, or even soften the black to a charcoal gray, and this look would have worked.  

Joey King looked very '90s in a column dress with a black velvet bandeau top and a tan sheer chiffon skirt with flower print over a shorter underskirt, paired with sheer black gloves, a diamond and black necklace, a zigzag headband, and washed-out makeup. It looked dated without being retro, and it felt like a bunch of pieces thrown together that didn't really work as a whole. 

Meryl Streep wore a deep brown dress with a silver swirl pattern, which a high round neck and long cuffed sleeves, with a gathered skirt and a short train. Considering some of the looks Streep has worn on recent red carpets, this is a very nice look, if not exactly memorable.  

Zuri Hall wore a striking teal satin off-the-shoulder trumpet gown with a deeply notched bodice and gorgeously angled seaming at the waist. This gown was impeccably tailored, skimming Hall's body without being tight, and creating a beautiful silhouette. Hall's hair and makeup were also impeccable. Simply lovely. 

Overall, it was a good night for fashion, with only a few missteps and plenty of fantastic looks!

You Can't Just Give (It) Up: Week 7 Check-In

Last week's plateau was frustrating, but the upside was that it inspired me to not only hang in there, but to look more closely at what I was doing and to consider if I needed to change anything. Looking back over my "treats" for the week, I realized I had gotten a little lazy about trading off when I opted for a treat. It also made me think about whether I really needed those treats as often as I was taking them. So I was more stringent this week about making sure that I gave up a rough equivalent of every treat I chose, as well as simply having fewer (and smaller) treats. And boy, did it make a difference. Once I waited out that plateau, I more than made up for the week of minimal loss. 

In addition to being more careful of my tradeoffs, I was more careful about my portion sizes, which I realized had been gradually and sneakily increasing. Since I don't weigh or measure my portions, those changes aren't really reflected on my tracking chart, so it's something I have to consider carefully at every meal. It's harder for me to control when I don't have a black-and-white record in front of me to look back at, so it's very easy to slip back into old habits. 

Interestingly, after the first week or two, I haven't felt especially hungry during the day, or overly tempted to snack between meals (well, most of the time, anyway). But when I sit down for the one "real" meal I have every day, dinner with my family, it's still sooooo very tempting to pile the food on my plate. Or to go back for seconds. Or to grab that roll with butter. 

It reminds me of the saying, "Eating is the one vice you can't give up cold turkey." We all have to eat. Food, in some form and in some amount, is necessary for life. You can't just stop eating altogether, the way you can give up cigarettes, or alcohol, or gambling. You can't simply remove the temptation from your existence. And controlling something is often far more difficult than eliminating it. Think about a bag of chips: it's so much easier to not have any chips than it is to eat one and then stop. 

Once again, for me it comes down to "mindfulness": Since I'm usually the one putting food on my own plate, I have to think, as I'm serving myself, about how much food I really need. What is a reasonable portion size? How much do I need to satisfy my body, not necessarily my taste buds or my emotional desires? I have to think about how much I want the immediate satisfaction of a few extra bites vs. the long-term satisfaction of lower weight and better health. Fortunately, the more weeks go by and the more pounds I shed, the more I am realizing that long-term satisfaction in the short term. My clothes fit better right now. I like what I see in the mirror right now. My blood pressure readings are lower right now. My back pain is less right now. As I'm putting food on my plate, I can think about those right now results and remind myself of the benefits I'm already seeing. Which makes it easier, but still not exactly easy. 

The bottom line for me this week is, I think, remembering that I'm not giving up anything altogether, I'm simply limiting some things. Which reminds me to enjoy them when I'm having them, as well as encouraging me to avoid (or minimize) them when I need to. 

Quote for the Week:

 Moderation. Small helpings.
Sample a little bit of everything.
These are the secrets of happiness and good health.

-Julia Child

The Dreaded Plateau: Week 6 Check-In

Welp, I knew it would happen: the dreaded diet plateau. I didn't think it would happen quite this soon, but here it is. 

I can't complain; the first 10 pounds came off unexpectedly quickly and easily. But I thought I'd have another couple of weeks before I stalled out. The scale has been bouncing around 166.5-167.5 all week, with a taunting low of 164.4 (admittedly, after a bout of illness resulting in some degree of dehydration) and a frustrating high of 167.8 (admittedly, after an early Valentine's Day celebration involving a cocktail, wine, and dessert). 

The question most people ask when they hit a plateau is, "Should I do something different? Do I need to cut something else out of my diet to kickstart my weight loss back into gear?" But I decided before I even started changing my habits that I would simply ride out any plateau that I hit. I feel like this eating plan is stringent enough that sticking with it will eventually result in continued weight loss. Could I give up a few more things for a week or two? Sure. I could drink my coffee black all week; I could pass up all alcohol; I could avoid all treats. But that goes against my overall concept of an eating plan that I can live with long-term. I want to be able to enjoy my coffee the way I like it, to have a cocktail or a glass of wine a few times a week, to eat a cookie or a roll with butter or a bowl of creamy coup now and then. I'd rather lose the weight more slowly using a method I can stick with forever than to lose it quickly giving up foods that I love (albeit only temporarily) but then put it back on once I go back to aless stringent long-term eating plan.

So although this period is frustrating, I'm continuing to look at the big picture. I'm eating more healthy, which is great for my blood pressure and my overall health. I've already lost more than 10 pounds, which is great for my joint health, my asthma, and my physical appearance. I've been able to stick to my eating plan, which is great for my self-confidence, determination, and long-term expectations. 

What's the bottom line for my reaction to this plateau? I'm going to make sure that I'm making tradeoffs when I have a treat. I'm going to remind myself that this is not a "quick fix" plan. I'm going to look in the mirror and tell myself that I'm doing great, and looking and feeling better than I did six weeks ago. And I'm going to hang in there and keep to my plan. 

Quote for the Week: Everyone plateaus.
What you do next is what counts.  

-Noah Kagan

2024 Grammy Awards: Red Carpet Review

I'm a little late in getting this red carpet review posted, but I didn't forget! Although I didn't actually watch the Grammy Awards ceremony, I looked all over the internet to find photos of as many outfits as I could. Most of the notable dresses fell into one of several categories: White, Black, Metallic, Belly Baring, and Structurally Impressive. There were a few other looks that didn't fit neatly into any of those categories, but were still worthy of mention, so I've added a "Miscellaneous" category. 

Let's take a look!

White

Let's begin with one of the most talked-about (and admired) looks of the night: Taylor Swift's white strapless Schiaparelli gown. It featured a strapless bodice with fan-shaped pleats that gathered over one hip and a similarly gathered skirt that fell into a circular train, with a second train that fell from the waist at the back. Swift paired the look with black velvet opera gloves, a narrow black choker above multiple longer crystal necklaces, and strappy black heels, topped with loose sideswept hair and dark red lips. A spectacular look in every detail.  

Olivia Rodrigo wore an ivory Versace column that was originally worn by supermodel Linda Evangelista in 1995. The gown had paired narrow straps and a sweetheart neckline, and was studded with pale pink gemstones that were closer together both at the hem and at the top of the bodice. Rodrigo also wore her hair loose and swept to the side and sported dark red lips, and her only jewelry was a large ring and small black-and-diamond earrings. Simple, sleek, and gorgeous. 

Ballgowns are less common at the Grammys than at other red carpet events, so Madison Beer's strapless white ballgown designed by Marmar Halim was eye-catching for its silhouette alone. The corset-style bodice was tightly fitted to emphasize Beer's tiny waist, but the bow detail at the bust balanced some feminine sweetness with the va-va-voom silhouette. I didn't love Beer's limp, center-parted hairstyle or dark lipliner, and the neckline was crying out for a y-shaped necklace, but the dress itself was terrific. 

Eryn Allen Kane credited her dress to Claire Sullivan. There are aspects that I loved about the look, and some that I hated. What I loved: The soft pink at the top fading to white; the draped pearls at the top of the bodice echoed in ropes of pearls wrapping her shoes; the combination of textures of satin and tulle. What I hated: The super-stiffness and lack of movement in the bodice; the super-short bubble hem in the front; the mismatched lengths of both the satin and tulle on the right and left sides of the skirt. Overall, I was not a fan, but Kane was so delightfully bubbly and excited about the look that it redeemed it for me.

Stephane Rolland designed Kat Graham's geometrical gown, which consisted of an oversized, stiff, square collar with a high neckline, cascading into a long train, with a barely-attached skirt with a "waistline" that angled from just under the collar on one side to halfway down the hip on the other side, forming a narrow column that puddled just a bit at the hem. I didn't find it especially flattering, but it was certainly intriguing and eye-catching. 

Kelly Clarkson went tradition yet unusual in a beautiful white Jason Wu design with an off-the-shoulder portrait collar that wrapped at the front of the bodice, and a skirt that was fitted from waist to knee then flared slightly, ending in a short train. She accessorized with a square white clutch and long diamond earrings that peeped out on one side where she had tucked her softly waved hair behind her ear. A really great and flattering look for her. 

Black

Lana Del Rey's black lace Sugar Ferrini frock was made of pretty fabric, but it felt very out of proportion to me. The jewel neckline emphasized the oversized, squared-off puffed sleeves, making Del Rey look top heavy, and the just-below-the-knee hemline combined with black pumps adorned with oversized bows on the toes created a frumpy effect. The sheer black gloves had interesting detailing at the wrists, but looked wrong with the length of the sleeves. Her long, bowl-cut, curled-under bangs and drab makeup only add to the overall frumpiness of this look.  

Janelle Monae was anything but frumpy in this sleek black sequin Giorgio Armani Prive column. The top of the double-pointed, waist-deep plunging bodice was accented with a line of silver beading that joined at the waist, which was accented with a large crystal-encrusted black-and-silver rosette, to form a single line to the floor, where the hem formed a short train. Monae accessorized with a narrow black choker with a small diamond knot at the front, tiny diamond stud earrings, and slicked-down hair with a few spiky tendrils pulled forward at her hairline. Very chic!

Jordin Sparks' black Zigman gown seemed like a random combination of parts: a shiny, futuristic, molded underbust corset that flared into a rippled shape at the bottom, topped with an upper bodice consisting of two (noticeably unsupportive and slightly crooked) chiffon panels that formed a halter topped with a large bow, and a crepe skirt that was snugly fitted to the knee, where the rest of the skirt became a long ruffle that flared into a circular satiny train. Any one of those details might have worked, but the combination of all of them looked lopsided and incohesive. 

Kelly Osborne shone in her sheer black Christian Siriano gown. Her semi-sheer scallop-edged bodice revealed a delicate web of seams and fell into a sheer, slightly flared, floor-length skirt over an opaque knee-length underskirt. Paired with strappy black heels and a whimsical clutch shaped like a portable stereo, and topped with vibrantly purple waved hair, Osborne's megawatt smile was the best accessory of all. 

Coi Leray looked very Vegas showgirl in a super high-cut panty joined with a square-shouldered, lapel-less jacket by a wrapped black sash, accented with a rhinestone band holding the jacket closed, a diamond bracelet and long drop earrings, sheer black hose, and a lime-green feathery coat or wrap, which Leray carried rather than wore. It was certainly a cutting-edge look, and Leray carried it off beautifully. 

Heidi Klum w as stunning in a gown that combined a black bra top, a flared black skirt with an inverted v-waistline cut to mid-hip at the sides, with narrow black straps from the point of the vee forming a kind of...halter bottom? The dress also had rhinestone bands across the bra top, over each hip, and from the waist to the bodice top. Interestingly, the "exposed" midriff was actually illusion fabric, which held the multiple straps snugly against her (amazing) figure. A great way to maintain the graceful lines of the design as well as creating a less bare feeling. Klum rocked it, as always. 

Kendra G rocked it a little less in her snugly fitted spangly black gown, which featured long sleeves, a thigh-high slit, and a lightning-bolt-shaped cutout down the front of the bodice. I loved the lines of the cutout, but they prevented her from wearing supportive undergarments, and the sheer cutout made her breasts look saggy and uneven. But overall, not a bad look at all. 

Metallic

Miley Cyrus created quite a stir in her sheer Maison MaMargiela dress, which was constructed only of safety pins. Although I didn't love the nakedness of the look (not to mention the thought of what would happen if any of the pins popped open when she sat down), I found the design absolutely stunning and innovative, reminding me of an elegant take on chain mail, and if she had worn it with some kind of unlying garment(s), I would have been a huge fan. But as it was, it was daring, it was impressive, and it was so very, very Miley. 

Another chain-mail-inspired look was Dua Lipa's Courreges gown had long bell sleeves, a wide plunging neckline, and horizontal slits over each hip. A closer look at the fabric revealed that it was actually a type of chunky fringe, which I'm sure caught the light beautifully. I loved the hint of sheerness in the sleeves, the straight silhouette, and the heavy crystal necklace that lay just above her collarbone. It looked fantastic - and comfortable. 

Coco Jones wore a silvery-blue beaded gown by Celia Krithariot. The wide, plunging bodice opened all the way to the waist, and the clinging skirt flared at the knee with a longer train at the back. I loved her long diamond necklace, drop earrings, and multiple bracelets, but the cinched-in waist looked uncomfortably tight, and the bodice looked ready to create a wardrobe malfunction at any moment. 

Victoria Monet absolutely knocked it out of the park in this striking copper satin Versace gown. The seaming of the corset radiated up while a gathered bustle created similarly fanned horizontal lines at the hip, then a perfectly smooth satin skirt flared to form a narrow train at the back. The crowning glory of the look was the diamond snake necklace at her throat. Glorious. 

Alessandra Ambrosio was very Morticia Addams in a skin-tight (and I mean skin-tight - hello, Alessandra's belly button) mermaid gown with a circular train in dark metallic pewter. I didn't love the pleather-y look of the fabric and the whole thing was waaaay too tight, but the color was great and I liked the simplicity of the tank-style bodice balanced by the literally out-there skirt. 

Halle Bailey reminded us all that she's all grown up now in a metallic champagne-colored not-quite-sheer gown with a plunging neckline. The color worked surprisingly well on her; there were just enough peachy-pink undertones to be different from her more golden skin tones. But she's just a hair too voluptuous for the bodice, which appeared to be straining, and the sheerness of the skirt created an awkward shadow at the crotch under the photographers' lights. A few minor tweaks, however, and it would have been a terrific look for her. No changes to hair and makeup though, because they were sheer perfection. 

Maria Mendes wore a gold lame halter gown that was perfectly lovely from shoulder to hip and a hot mess above and below. I loved the structure of the bodice, with its wide horizontal bands forming the waist and neatly fitted panels that allowed for generous cleavage but also reasonable coverage and support. However, the skirt consisted of upwardly flared panels that stuck out in stiff points where they joined the waistband, and an extremely noticeable deep hem. It also appeared to have pocket openings just above the knees in two of the front seams?? And the gold lace headpiece, although not terrible in concept, looked out of place with the dress, and the way the front panel had points that fell directly in front of her eyes was very distracting to me, and I suspect to her as well. I did love the fan-shaped gold handbag, and especially what appeared to be a jeweled hand strap.  

Belly Baring

Chloe Bailey wore a gown by Indian designer Gaurav Gupta, whose heritage was reflected in the belly-baring cut of her sari-inspired ensemble. The black dress was encrusted with lines of metallic copper beading, with a single-strap bra-style top that connected to a straight skirt with a broad, flared side slit. The beading on the dress eliminated the need for any jewelry other than a simple cuff bracelet, a few rings, and subtle earrings.

 

Ayra Starr wore a skin-baring two-piece ice-blue chiffon ensemble by JeBlanc. The bra-style top was draped with rows of crystal to match the crystal straps, with long, full, trailing chiffon strips, and the bottom of the dress consisted of a wrapped micro-mini with more trailing chiffon. The description makes it sound messy, but it actually created lovely, graceful, soft lines. I particularly loved her strappy silver gladiator sandals.  

Tyla's single-sleeve sage green Versace gown combined multiple fabric strips radiating from the waist with softly ruffled skirt panels and several sheer spangled panels to create a delicious peekaboo effect that radiated both old-school glamour and very contemporary design. I'm pretty sure she was wearing the same fabulous sandals as Ayra Starr, and bonus points for the belly-button jewelry that coordinated with her gorgeous earrings. 

Paris Jackson wore a black belly-baring Celine dress that was similar in concept to Chloe Bailey's, but much less successful in execution, and simply not as flattering for Jackson's body type. The stark straight lines of the bodice combined with the narrow skirt made her shoulders look overly broad, and although Jackson's exposed abdomen revealed zero percent body fat, her straight silhouette and narrow-hipped figure needed some curves added through her clothes. It was a fine if uninspired design, it simply wasn't right for her. 

Structurally Impressive

Dawn Richard's deep red Khosrov gown was quite lovely if a bit bland from the shoulders down, but everything above the shoulders was an architectural masterpiece. The "Arboreal" dress (as designated by the designer) explodes into trees growing from the straps, creating a kind of leafy halo over Richard's head. It's a bit of a performance piece, but I rather like it. I just wouldn't want to be the person sitting behind her in the audience. 

Laverne Cox also wore an elaborated structured red dress, a vintage piece by Comme des Garcons that she pulled from her own closet. The corset-style bodice features wide-spaced, narrow straps, worn with a skirt with a short bib topped with wide halter straps, a slender belt, and exaggerated pannier-style extensions on each side of the skirt, which are made of two contrasting fabrics and finishes. I liked the bodice and the belt/bib combination, but the skirt was too exaggerated for my taste, particularly the hanging flap in front and the super-shiny vinyl panels. Minimize the panniers and use a single fabric - or at least less contrasting fabrics - and it would be a terrific contemporary look. 

At first glance, Kylie Minogue's deep red Dolce & Gabbana gown had a simple fitted bodice and soft skirt of several chiffon panels. But a closer look reveals that the entire bodice is an elaborately woven patterns made from ribbon and crystal beading. And the criss-cross pattern was neatly echoed in her criss-cross satin sandals. A lovely look. 

Chrissy Teigen made a rare fashion misstep in a black velvet bodice with a vivid pink micromini bubble skirt festooned with an enormous rosette. Admittedly, the short skirt drew attention to her gorgeous up-to-there legs, but the dress looked hugely bottom- and side-heavy. It was like everything terrible about the proms of the 1980s, without the huge bangs.

Lady London's gown wasn't fantastically structured as some of the above looks, but her simple yet stunning gown was brought to an entirely new level with the addition of a single structural element: A stiff, bead-studded ribbon that originates from the center of the bodice top and then swirls up and down in an s-shaped pattern to create a fantastical, stylized vertical bow along the side of the bodice. It's perfectly proportioned to be intriguing without being weird. The oversized rings and diamond ear cuff are also just the right amount larger than life to complement the gown, and her smooth, impossibly shiny curled bob brings it right back to old-school glamour. 

Miscellaneous

Sheila E. sported a brightly multicolored harlequin suit over a pink top, accessorized with sparkly silver sneakers and huge hoop earrings. I actually loved the jacket, but the pants were baggy and ill-fitting, and that pattern from head to toe was a bit much. Ditch the pants in favor of a solid color pencil skirt (the same pink at the top would be terrific) and the sneakers in favor of silver ballet flats, and her look would have been as rocking as her music. 

Paris Hilton may be a vapid twit, but she has a gorgeous figure and she knows how to show it off to its best on the red carpet. Her Reem Acra gown featured aquamarine beading forming radiating lines over an ivory base dress, a tiny aquamarine belt, and side cutouts. It was simple, sleek, and gorgeous, as was her straight long blond hair and diamond cuff bracelet. 

Brandi Carlile also wore a suit that came close but didn't quite hit the mark for me. I loved the vibrant yellow with a hint of pink undertones paired with a pale pink satin blouse with a bow at the neck and trailing drapes. But the suit was not as well-tailored as it might have been; the legs were just a bit too wide and the jacket would have benefitted from a little more structure and shape. Shorten the jacket an inch, bring in the shoulders seams and nip the body in at the waist, narrow the pantlegs, make sure the deep hem isn't visible, and the look would be much more flattering. 

Lauren Daigle was just working too hard with this mish-mash of a look. The basic structure of the frothy navy gown was actually not too bad, if a little voluminous. But adding on a tangle of multicolor threads over half the bodice and zigzagging down over the hip; accessorizing with leopard-print platform sandals, stacks of bangle bracelets on both arms, mismatched earrings, and a flat-topped suede hat; and styling her hair in messy braided pigtails carried this look far, far away from its promising starting point. 

Molly Tuttle looked like she had come directly from the set of a bad community theatre production of Sunset Boulevard in a pale pink satin slip dress, a frothy marabou-trimmed robe, a bulky silver turban trimmed with a large fabric flower, and, inexplicably, thick flesh-toned tights under her low-heeled silver sandals. Sorry, Mr. De Mille, Ms. Tuttle is NOT ready for her close-up. 

Lachi's delightful black-and-white houndstooth jacket dress by NIIAMAR was trimmed with deep pink satin lapels, buttons, cuffs, and lining, a color that was echoed in Lachi's clutch, platform shoes, lipcolor, and even her cane! (Although a red and white cane is considered "standard" for many visually impaired people, I was delighted to see that Lachi coordinates her cane with her outfit for red carpet events, so I have no doubt that this cane was intentionally planned to go with this outfit.) I'm not as much of a fan of the tight-fitting beaded cap, but the pattern did tie in nicely with the houndstooth pattern, and anyway, who can argue with that brilliant, beaming smile?


I think that the best thing I can say about all these looks, good and bad, is that no-one seemed to be miserable about what they were wearing, and isn't that really what matters?