It's been a while since I've posted a red carpet review, otherwise I might not have bothered with reviewing the CMAs this year. Because the fashions were, in a word, boring. There weren't any particularly terrible looks, but there weren't any particularly fabulous looks, either. There weren't even any particular trends. (Except for possibly long, wavy hair worn down. Yawn.) But there were some good looks, and there were some lousy ones. So let's check them out! Since there's no good way to group them, let's just go in alphabetical order.
Kassi Ashton wore a long, clingy, silver sparkled sleeveless column with an attached hood. I loved the vertical lines of the fabric, which emphasized her graceful figure and framed her lovely face, as did her short flipped hairstyle. Her pointy-toed shoes were great but I would have loved a pop of color in her shoes (or somewhere). A very pretty look, but not especially memorable.
I loved the super-shiny silver fishscale fabric of Kelsea Ballerini's gown, but the bagginess of the top was not flattering, as it clung to her chest but ballooned out at the waist before falling to a very slim skirt that flared slightly at the hem. The to-the-waist armholes would have worked better with a fitted or clingier bodice. It wasn't terrible, it was just poorly proportioned.
Macie Banks also used terrific fabric to her advantage, in a semi-sheer, black lace pantsuit with flared, wide-legged lace trousers over solid black shorts and an elbow-length lace capelet over a solid black bandeau top with a hint of lace edging. I loved the sexiness of the peekaboo lace and cropped top combined with the minimum of exposed skin. It was cute, but still nothing especially memorable or eye-catching.
I heard mixed reviews for Simone Biles' clinging silver single-shouldered column, but I thought it looked great. Her gymnast's figure, with broad shoulders and narrow hips, was very flattered by the overall lines, especially the angled line at the neck with a dropped wrap around the shoulder, but I will agree that it was too tight at the waist, as evidenced by her visible belly button. Even on a zero-percent body fat figure, fitted clothing should skim, not cling. Also, unlike some other critics, I loved her flipped-under, side-parted bob. She looks beautiful.
Another look that I quite liked was Colbie Caillat's single-shouldered black gown with a silver mesh overlay. I loved the way the overlay gathered in at the waist then angled out, creating diagonal lines against the more horizontal and vertical lines created by the strapless gown with its hugely wide front opening. I also loved the round side train and the pointy black pumps. Once again, I would have loved to have seen a pop of color, perhaps in a large chandelier earring or an evening bag. But still one of the better looks of the night.
Karley Scott Collins looked very late 1970's in a plunging, gathered-front gold lame dress with a deep front slit and a short train, accessorized with a heavy necklace and bracelet, dainty shiny gold sandals, and flippy Farrah-esque waves. I half expected her date to be
Deney Terrio. It was retro, but not in a good way.
Ashley Cooke wore an blush peach sequined halter column with a wide neckband, accessorized with matching long drop earrings, a sparkly evening bag, and chunky heels. The general idea was great, but the gown was tight enough to show the lines of her undergarments. Panty lines are never a good thing, but they're especially terrible on the red carpet. She still looks great, but shame on her tailor.
Dasha wore my favorite look of the night, in a shimmery lavender strapless gown with twisted bands across the bodice creating two front cutouts, as well radiating lines from the waist to the floor. The fabric had a hint of crinkle to it, which caught the light beautifully due to the shiny finish of the fabric, and also served to camouflage the barely-visible rumple of the underskirt across the hips (even celebrities have issues with static cling). The overall silhouette was simply gorgeous, the color was spectacular on her, and the dainty necklace and super-long earrings were the perfect finishing touch. *
chef's kiss*
Karen Fairchild rocked a skintight red velvet gown, with a single long sleeve and a skirt that was cut thigh-high on one side and fell to a long train on the other, complete with a attachment to her wrist. I loved that she wore heavy bracelets on her bare arm and just a single on the sleeved arm - worn over the sleeve - and her long dark waves were great, but her shoes were simply terrible, appearing to be constructed of tiny red straps held together with... round buttons? Industrial grommets? Half-eaten cough drops? I don't even know. But I do know that with a dress that so completely revealed the shoes, she needed something better to complete the look.
Maddie Font wore a perfectly serviceable but ultimately boring silver sequin strapless column accessorized with a narrow diamond necklace and matching bracelet and silver sandals. Pretty, but bland.
Ania Hammar wore a red strapless mermaid gown with a scallop-edged, boned bodice fitted to the knee, where it flared out in a sheer, double-layered skirt. I loved that the upper layer of the skirt was higher in front and lower in back, creating a lovely curved line that contrasted with the horizontal line between bodice and skirt, and I loved the curves of the seaming on the bodice. It was quite lovely, but it was still a small variation on a look we've seen many times before.
Kat Higgins wore a heavily ruched, one-shouldered column that could have been boring if it were not in such a striking chartreuse. Not many people can pull off that particular shade, but it looked great with her fair skin and dark hair with just a hint of chestnut highlights. She could have used a little more glamour in a diamond choker or bracelet, but the amazing color and perfect tailoring made up for any deficits.
Sierra Hull's gown was also a fantastic color, a vivid peacock blue, which was a fantastic color on her; unfortunately, even the beautiful color couldn't make up for the less-than-fantastic style of the gown. The one-shouldered bodice has terrific tiny diagonal pleats that were slightly blurred under a sheer overlay. But the sheer leg-o-mutton sleeve was all out of proportion, jutting high above her shoulder, and the way the sheer fabric crushed together into multiple bright layers in some places and a single, nearly invisible layer in others created a weird striped effect. The skirt had a slightly full underlayer and a much fuller sheer overlay that I liked, except at the waist, where the fullness created an unflattering puff that made her look very short-waisted. Drop that waist seam a couple of inches so the fullness starts at the widest point of the hip, and remove the sheer sleeve altogether, and this dress could have knocked Dasha out of first place.
Angie K was very cowboy-themed in a pair of white wide-legged pleated trousers, a wide black belt with tooled silver buckle, black velvet boots, an ivory sleeveless sweater with deep v-neck, narrow black neckerchief, topped with an ivory cowboy hat. I did love her quadruple necklaces in graduated lengths, and the overall look was attractive and it suited her. But it was a bit casual for the red carpet. Add a white jacket and lose the neckerchief in favor of a black pocket square, and the look would have worked better for me.
Miranda Lambert often struggles on the red carpet, so I don't want to give her too hard of a time with this one; it's actually quite pretty, if a bit basic. I love the barely-curved off the shoulder neckline and the dropped shoulders, the oversized turquoise jewelry is a fabulous choice, and the fact that the dress is a tiny bit bloused over the belt instead of being snugly fitted really works for her. But I don't love that the whole entire hem of the dress puddles into a wide train. How can she possibly walk gracefully in that? Again, this is a minor variation on a look we've seen a hundred times, but it's lovely on her anyway.
Ella Langley looked very Wednesday Addams in a voluminous black lace frock with sequins on the high neck and shoulder details, yards of angled ruffles on the skirt, and a sheer cape that fell into a train at the back. Her long bangs and heavy, dark eyeliner and lipliner completed the goth effect. It wasn't a terrible look, but it did overwhelm her so we saw only the dress and not the wearer.
April Lockhart was stunning in a silvery-grey, sheer lace gown with black velvet floral appliques, a sheer black corset-style bodice, and three-dimensional white floral appliques forming a single shoulder strap and wrapping around the bodice. While I loved the gown, I found that the white appliques contrasted a little
too starkly with the rest of the gown, and might have worked better in a slightly brighter silver than the gown's grey fabric. But even with that tiny nitpick, I really loved this look.
Ashley McBryde wore a deep eggplant gown that was fitted to just above the knee, where it flared slightly before skimming the floor. The long-sleeved gown had a deep v-neckline that nicely framed her large eagle tattoo, especially with the crystal leaves on the front of the shoulders. But the attached cape with its barely-contrasting lining gave a heavy look to the whole ensemble, masking her gorgeous va-va-voom figure and puddling stiffly on the floor instead of skimming it like her skirt. In the word of Edna Mode, "No capes, darling. No capes."
Katharine McPhee's all-black tuxedo was another "lovely but bland" look. It was beautifully tailored to her figure, with tapered pants and a long lapel-less jacket that nipped in at the waist, topped with a long scarf that wrapped around her neck before falling to her waist and ending in spangles and fringe. I liked her accessories of super-shiny pointed boots, a small black satin clutch, and especially her large green and silver drop earrings, but overall it was still a little bland.
Megan Moroney's vivid blue strapless mermaid gown was certainly eye-catching, with its hugely flared tulle skirt. I loved the upper part of the gown, which was simple and beautifully fitted, but the skirt was just too visually weighty, pulling the viewer's eye down and away from her gorgeous, perfectly made-up face and fabulous blonde waves. It's all about proportion.
Kacey Musgraves was a hit in a denim - denim? Well, it is the CMAs, after all - sheath encrusted with large teardrop-shaped crystals, with heavy marabou feather sleeves. Despite the denim, I actually loved the base dress, which was nicely constructed and well tailored, but the sleeves were out of proportion (not to mention that they looked like Muppet fur). The dress itself seems to have narrow straps, so I'd lose the sleeves and maybe add a narrow marabou wrap or even a short capelet instead. I did love her choice of nude pointy-toed pumps, long straight hair worn behind her shoulders, and heavy eye makeup paired with nude lips. I didn't love her look as much as many critics, but I did like it.
Taylor Frankie Paul wore a metallic-silver-on-white sleeveless fitted gown with a deep v-neck and a high waist seam. I loved the fabric and the silhouette, but I didn't love the 6-inches-too-long hem all around the skirt. It looks messy to me. Given the sparkly, metallic fabric, it was the right choice to skip jewelry except for large hoop earrings, and the long dark wavy hair with caramel and honey highlights was beautiful, but the pale cocoa lips and coordinating eyeshadow were too monochromatic on her face, in addition to making her teeth look overly white (
Ross Geller, anyone?).
Carly Pearce wore a soft, white column with a short train and a bodice that was formed by a wide swath of fabric that wrapped around the back of her waist then the ends were pulled over each side of her bust to join behind the nape of her neck, halter style. I think the bodice would have looked less "forced" if the designer had added a short horizontal strap a few inches above the raised waist of the skirt, forming a triangular cutout and anchoring the two sides of the bodice together. Pearce's hair also looks a little flat and unfinished, with poorly-defined waves that seem overly casual for both the dress and the occasion. Again, not terrible, but a few small details would have made a major improvement.
Mackenzie Porter's metallic gold gown was very similar in style to Karen Fairchild's red gown (above), but without the long sleeve and with a slightly shorter train. (Also, paired with much better shoes.) As with Simone Biles, I don't like that the sheerness and tightness of the fabric clearly outlines Porter's navel, and the pale color washes her out a little, but overall it's a pretty dress and a flattering style. As with so many of the looks, it's fine but nothing special.
Delaney Royer wore a midnight blue satin strapless sheath with wonderful wrapped detailing on the bodice that served to add visual detail to an extremely simple silhouette. I loved her coordinating velvet evening bag and shoes, the former with a crystalline handle and the latter studded with crystals, and her sapphire-and-diamond choker, ring, and earrings. Her hair was a bit limp, and I would have loved a touch more color in her nude lips and eyes, but overall it was a nice look. I would wear this look.
Kimberly Schlapman added some fun and whimsy to the red carpet in a white strapless A-line gown studded with tiny black fuzzy bows and topped with an oversized, pointy black bow at the top of the bodice. Her riot of platinum curls in a messy updo and hint of dainty pink in her manicure and makeup added the right touch of softness, while continuing the fun theme. Very cute!
Alana Springsteen showed off her curvaceous figure in a black sequin gown with a wide thigh-high slit and spaghetti straps. The ankle length felt off to me - either dusting the floor or a slightly shorter tea-length would have looked better - but for the most part it was perfectly fine. But the whole look tended to fade into the background, so much so that I literally Googled to make sure she wasn't the person who carried out the awards and escorted the winners offstage.
Molly Tuttle was very cute in a strapless metallic gown with a full, flared skirt. The quilted fabric was a print of copper, rose gold, and yellow which read nicely under the lights, and the full, slightly stiff style of the skirt made the ankle length work really well. It had just a hint of a retro/1950s vibe that I really liked. In fact, if I were to make one change to her look, it would be to add a wide headband made of the same fabric as the dress.
Alysa Vanderhey wore a wide-legged ivory tuxedo over a narrow, sheer lace bandeau, paired with pointy-toed ivory slingbacks. Her hair and makeup was fabulous so the attention was all on her face, as it should be, but this outfit was a look we've seen over and over.
Lauren Watkins gave off a bit of a disco vibe in a plunging, twist-fronted red halter gown with a widely angled front slit and a short train, paired with gold platform sandals, a pair of mismatched wide gold bracelets, and super-long drop earrings. Her pale pink lips weren't quite the right shade for the outfit - this may be one case where nude lips would have been my choice - but her eye makeup was great, as was her long wavy hairstyle.
Julie Williams also had a 1970s feel with a high-waisted, batwing-sleeved silver sequin gown, black platform sandals, a bolo tie, and fantastically full natural curls. I loved her hairstyle and makeup, but the dress was a bit shapeless. I think if the skirt had been a straighter cut, closer to a column, it would have been more flattering and better proportioned. (Also, her PA needs to make sure her tie isn't off center before she poses for the photographers.)
Lainey Wilson's all-black ensembled consisted of a spangled tuxedo jacket with a wide shawl collar over a satin shirt with a large silver and mother-of-pearl bolo tie snugged up to the collar, paired with super wide-legged sheer black pants, topped with a flat-brimmed cowboy hat. I loved that the jacket was just long enough that the pants didn't have (or need) a visible opaque lining or underlayer, I loved that the pants ended exactly at the floor so you could see her chunky patent heels through the sheer pantlegs, and I loved her hair tucked back over one ear to reveal a single long silver feather earring. It's another variation on the woman-cut black tuxedo, but it's particularly well done here.
So, bottom line? Dasha was my favorite, with Colbie Caillat, April Lockhart, Kimberly Schlapman (I know a lot of critics panned her look, but I found her a breath of fresh air), and Lainey Wilson receiving honorable mentions. And really, no-one's look was bad enough to be called out - which, let's be honest, is a little disappointing.
Seriously, when this is the worst you can
come up with for your Worst Dressed List,
no-one is taking fashion risks.
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