2017 Country Music Awards Red Carpet Review

The overall look of this year's red carpet at the country music awards was decidedly...let's call it "restrained". Well, for the women, anyway. The men's looks tended to be more casual, more wild, and more varied in general. But the women generally went with a more traditional looks - less formal than other red carpet events, but generally true "red carpet wear", with long gowns or fancy cocktail dresses far outnumbering cowboy looks or extremely dressed-down styles. Here are some of the looks we were treated to at this year's CMAs!

Carrie Underwood's red carpet looks generally run from good to spectacular, and this cobalt-blue gown definitely heads toward "spectacular" territory. The color is amazing on her, and the curvy cut works great on her slight figure, with the fullness of the off-the-shoulder sleeves visually balanced by the flared skirt. My only picky little objection is that the modesty panel across the cleavage creates an odd shadow across her chest. But otherwise, this look is simply fabulous.

Kimberly Schlapman opts for a simple black (or possibly deep midnight blue) velvet column embellished with only a long side slit and a shiny gold belt and matching box clutch. Its simplicity is well-balanced by her emphasis on eye makeup and her riot of blond curls. A well-chosen and flattering look.

Pink and her adorable daughter Willow wore coordinating ball gowns with cascading tulle ruffles, mom's in white with a black belt and daughter's in deep blue with a silver belt. Pink's deep v bodice featured tulle cascading from the shoulders, and Willow's jeweled bodice had sheer long sleeves and was paired with a tiara. Both looked lovely, but Pink's proud mom smile is the best accessory.

Reba McEntire chose a classic charcoal gray column jazzed up with curved black panels and a bit of sparkly embellishment. Simple, flattering, age-appropriate. Not one of the more memorable looks on the red carpet, but certainly still a thumbs up.

Faith Hill's one-shouldered sparkly black flared dress was lovely except for the giant tulle thing on her shoulder that kept covering her face. Tone that sucker down a bit and this would have been a lovely look. I wouldn't complain about a less severe hairstyle, either.

Lea Michele opted for a short gown, encrusted with sparkles and embellished with feathery bell sleeves and waist detailing. I didn't hate it, but I didn't love it, either. She has a somewhat straight figure, and the details at the waist make her look a bit thick in the middle. The short skirt does show off her fabulous legs, though, and extra points for great shoes.

Lauren Alaina's deep cranberry sleeveless gown featured a high collar, petal-shaped double peplum, and a neck-to-waist keyhole slit. It works beautifully on her slight figure, looking sexy but not overly revealing. I love the hint of 1940s with the satin-edged peplum, and the overall silhouette was unusual and lovely.

Red carpet maternity dresses can be difficult, but Jessie James Decker made an excellent choice with this snug, off-the-shoulder sweetheart column. The hem was just a hair too long (it looked pretty as it puddled on the red carpet, but it looked like it would drag when she walked - not a good idea for a pregnant lady!), but otherwise the fit was impeccable. A simple but pretty - and comfortable - look.

Kelsea Ballerini wore a two-piece print column with a triangle cutout at the belly. The high waist of the skirt gave it almost a vintage "I Dream of Jeannie" look, and although I didn't love the print, which was a little reminiscent of upholstery fabric to me, it was a different and pretty look, and a nice balance of formal and casual appropriate for the CMAs.

Miranda Lambert often wears pretty red carpet looks, but somehow she always manages to look tired or uncomfortable, and last night was no exception. This silver halter gown with narrow black belt was lovely, but I felt like she needed more color or more details. Perhaps a fancier hairstyle or brighter makeup? I can't put my finger on it, because I feel like this should be a good look, but it just doesn't "pop" for me.

I love Lilliana Vazquez's asymmetrical, geometric white cocktail dress. It's simple but interesting, it fits her perfectly, and she has the right coloring to pull off pure white. The chunky diamond bracelet,  tiny gold clutch, and silver strappy sandals are just the right accessories to add the final polish to this look.

Kellie Pickler occasionally goes off the rails on the red carpet, but I loved her black eyelash dress that turned to green at the hem. The metallic gold undertones class it up, and the busy texture of the fabric is balanced by the simple cut of the dress. She looks terrific.

Karlie Kloss wore one of my favorite looks of the night. The textured red fabric creates visual interest, as do the slashes in the "carwash" style full skirt, and it looks like there's a lot more sheerness than there really is. The color is great with her blond hair, and I love the stacked heavy gold bangles. Sheer perfection.

I'm not a fan of jumpsuits in general, and I'm definitely not a fan of Michelle Monaghan's jumpsuit in particular. The skintight pants make her hips look lumpy, and the weird, loose, open-sided top is a wardrobe malfunction waiting to happen. She's a lovely girl, but this isn't a lovely look.

Karen Fairchild's green and black gown had a pretty, almost 1980s styled silhouette, with puffed sleeves and a high neck. I liked that the keyhole and 3/4-length sleeves showed a little skin, because the look came off as quite dark otherwise, but I'd love to have also seen it with her hair up to lighten the heaviness of the look even further. But even so, it's a nice look.

Pam Tillis looks just spectacular in this place velvet number with silver detailing on the bodice and a sheer black cape that turns into a train. It's classic, it's elegant, it's flattering, and it totally works for her.

Maren Morris often goes for cutting-edge looks, with varied amounts of success. I would not call this one of her more successful looks, however. The general concept of the top isn't bad, although it's riding uncomfortably low on her chest. But the bottom can't decide whether to be a skirt or rhumba pants, and it comes off as an ugly hobble skirt made from white snow fencing. Points for fabulous shoes, at least?

Elaborate tattoos tend to either compete with red carpet gowns or work with them, and Ruby Rose chose the perfect gown to work with hers. Her simple silver sequin halter column highlights her tattooed arms, without trying to either cover them up or focus on them too much. The cut works with the placement of her sleeves, and the simplicity of the gown prevents the look from being too busy. And the sleek hair, simple makeup, and lack of accessories are all perfect finishing touches.

Carly Pearce wore a trendy sheer-skirted gown with a sheer bell sleeves and a deep-v bodice with pale blue flower details. I'm not a big fan of the granny-panty underlayer (I prefer a short skirt), but generally, it's a cute look with lots of personality.

Admittedly, red carpet maternity gowns are tough to find, but Hillary Scott's stretchy print velvet dress was too casual and off-the-rack from 1996 for me. Her clunky heels weren't helping, either. That said, her hair and makeup were on point and I'm glad she looked comfortable.

Another somewhat simple black dress topped by wild blond curls, Cam's prairie-inspired velvet gown featured a puffy bodice with puffy short sleeves and a straight skirt with bands of sheer black lace edged with off-white lace. It was different, it was cute, and I absolutely loved it on her.

Danielle Bradbery sported a very traditional red carpet gown, with a red satin halter bodice and a full chiffon skirt with a nearly waist-high slit. I loved the cord detailing at the neck and the short train all around. Elegant, classy, and perfectly red carpet.

Madeline's mauve velvet jumper might have been more flattering had it fit her better. The length wasn't quite cropped enough and just looked too short, the fabric bunched at the hips, and the wrap bodice appeared to be straining just a little. The fabric is great and the concept isn't bad, but it all comes down to the tailoring and it just didn't come together.

 Lindsay Ell also wore a more traditional red red carpet gown, a sparkly column with wide front slit, long train, and a broad v-neckline. The wide neckline, combined with her hair cascading down on one side, somehow made her shoulders look droopy and gave the effect of bad posture, although on closer look she doesn't seem to be slumping. A slightly more closed front or perhaps simply wider straps might have fixed the problem. Overall, an okay look, but not a great one.

I really liked Meghan Linsey's black column with one sleeve, wide collar, and short train. The fabric had just a hint of sheen and sparkle to it, and it clung to her curvy figure in a flattering way. Her short, slippy blond hair and nude lips with heavy eye makeup gave just the right amount of personality for the somewhat severe dress, and it all worked together to create a terrific look.

Brittany Snow also opted for a very traditional gown, a flared off-the-shoulder cobalt blue column with triangular waist cutouts. She doesn't have a particularly curvy figure, so the cutouts did a nice job of creating curves, as did the flare of the skirt. I wish the shoulder straps had curved upwards just a bit to soften the line, but in general, a very nice look, and the perfect color to set off her gorgeous auburn hair.

So sorry, no trainwrecks that I saw. But there's always next year!

The 2014 Country Music Awards: Red Carpet Review

I must admit that I look forward to the CMAs every year with a bit of guilt, because what I love most about them is that there is inevitably at least one person wearing a ridiculously over-the-top, look-at-me-I’m-a-cowboy outfit. I’m rather disappointed not to have seen any of that this year, although I was fortunate enough to tune in early enough to catch a number that featured all the singers and an inexplicable 20-member snare drum band wearing costumes trimmed in color-changing LED rope, so I did fill my “weird and outrageous” quota for the evening. But on to the fashion critiques!

The biggest fashion trend this year can be summed up in three words: Black is back. Seriously, of all the dresses I saw in the red carpet photos, about six of them were not black, and of those six, only two were not a shade of white or champagne. So I’ll begin with kudos to Connie Britton for bucking the trend!

Her bottle green lace dress over a black underlay was striking, and the length was just perfect for showing off those gorgeous legs. Her face seemed a bit colorless, but her simple strappy sandals and dark pedicure were a great choice.

Surprisingly for such a casual event (in red carpet terms, at least), Britton was among very few attendees wearing short dresses. 

Another attendee rocking a shorter dress was Martina McBride, in a flared black-and-gold frock.

The skirt would have been more flattering had it been just a few inches shorter or a bit less full, but it was helped by being slightly see-through toward the hem. I’d have gone with flashier gold (or at least black-and-gold) shoes instead of boring pointy pumps, but her gorgeous chestnut locks and hint of coppery lips drew attention up toward her lovely face.

Carrie Underwood, one of my personal fashion favorites, split the short skirt-long-skirt difference by wearing an asymmetrically-hemmed, glittery champagne-colored gown with matching pumps (and matching hair, come to think of it). 

Something about where the waistline falls is not terribly flattering on her (at several months pregnant, what is?), but the cascading ripples of bedazzled fabric tempered by a plain underskirt is so feminine and pretty that I can’t complain too much. (I did watch enough of the awards themselves to see that she changed her outfit at least ten times, and I will refrain from commenting on her other dresses except to say that it might have been easier on all concerned if she’d just worn the dress she wore to the Grammys in 2013 and let them project a different pattern on it every time she came on stage.)

But here’s something that I CAN complain about: Oh, Kacey Musgraves. My children adore your song “Heartache Song,” and your voice is as cute as a bug’s ear. But WHAT IS UP WITH YOUR HAIR????

Did you lose a bet? Are you smuggling contraband up there? Did your hairdresser have an unfortunate break with reality? Because, honey, no. Just….NO.

The next “Just…NO” outfit is credited to Lily Aldridge. Yes, dear, you’re a Victoria’s Secret model. However, you should probably still wear more than your underwear when you’re not at a VS shoot.

Also, what does this dress look like when you’re standing like a normal human being instead of crossing your feet and sticking you right hip out six inches? Just…NO.

A slightly unconventional dress that I did love, however, was sported by Clare Bowen.

The bodice is just vaguely reminiscent of an old western saloon girl, topping a huge froth of white speckled with black. This gown manages to be effortlessly sexy, cute, and fun all at once, and Ms. Bowen is obviously having a wonderful time in it.

Rachel Holder and Kelli Pickler wore similar spangled black columns with varied degrees of success.

Holder’s gown features a plunging neckline with metallic discs covering the bodice and unfortunately emphasizing (or possibly even creating) a bit of a pot belly. The tiny flared train, loose waved ‘do, and feminine makeup were nice details; the studded biker-chick clutch not so much. Pickler’s gown was a bit more unconventional yet conservative, with narrow modesty panels separating fabric with different patterns of rhinestones. The perfect tailoring of the gown, slicked-back platinum locks, silver clutch, and subtle train all added to one of the loveliest looks of the evening.

One of the fun parts of the CMAs is the number of married couples who are both in the business. 

Faith Hill and Tim McGraw went for old-school glamour; her in a slim, studded retro gown that reminded me of Barbra Streisand’s famous Bob Mackie pantsuit from the 1969 Oscars, and him in an impeccable and classic shawl-collar tuxedo with hand-tied bow tie and a black Stetson. 

Blake Shelton and Miranda Lambert went a bit more casual but equally stunning; she in a champagne-pink Grecian-style gown with ruched bodice, and he in a black jacket and vest over a deep charcoal dress shirt and tie, and tastefully faded dark-wash jeans. 

And Trisha Yearwood and Garth Brooks also looked smashing in unrelieved black; her in a high-necked, long-sleeved gown with a generous train that was just tailored enough to avoid looking frumpy, and he in a black suitcoat over a black collarless shirt, black jeans, black cowboy boots, and of course, his trademark black hat.

I’d also like to call attention to a few groups who caught my eye. 

The Eli Young Band gave the impression of some grunge guys who worked really hard to clean themselves up for the evening. Shined shoes, crisp coats of various textures, and just enough color and variation in their shirts to give them personality, and washed and neatly combed hair. Nicely done, gentlemen.

Lady Antebellum looked cutting edge with the men in fashionably slim-fitting suits and skinny ties, and the lady in a gown that showed off her voluptuous figure without looking trashy (never an easy feat). 

Little Big Town was all over the map, with one gentleman in a modern, slim-fitting eggplant suit and another in a black-and-white tuxedo; while the ladies also split the look with one in a simple (perhaps slightly too simple) pale copper dress and matching shoes and the other in a spangled white gown covered by a wrap that appears to be made of muppet fur. Any one of the looks alone might have worked, but put them all together and it’s just a discombobulated mish-mash.

Parmalee was another all-male group that looked like they had made a concerted effort to clean up for the CMAs. Their look was a bit more casual and country than some others, but they looked much more natural and at ease than many other groups. The dark wash jeans and overall dark colors worked to tie their looks together, but still allowed for the individuality of a bright cobalt shirt and plum velvet jacket here, an oversized belt buckle there, and some gold chains on another. Good job unifying what appears to be very different personalities and styles.

But now let’s move on to a category that hit it out of the park at the 2014 CMAs: the men. Their styles ranged from tuxedos to jeans, from 10-gallon hats to baseball caps, from classic black and white to vivid colors and textures. 

Once I was able to pull my focus away from Dustin Lynch’s 10,000-gigawatt smile and adorable dimples, I noticed the beautiful detailing of his deep blue tuxedo, from the satin collar to the crisp, open-collared dove-gray shirt, to the perfectly fluffed pocket square, to the satin hatband that perfectly matching the satin piping on the jacket pockets. This is a man who knows how to dress for the occasion.

Jon Pardi went with an informal look, but I had to mention him for the charm of this unusual single-button wide-wale corduroy jacket featuring feathery appliques perfectly coordinated with his pocket square. It worked nicely with the crisp white open-collared shirt, fashion-forward jeans, and just a glimpse of a giant belt buckle. Very western and very fun!

Darius Rucker has come a long way since his Hootie days, and his fashion has come a long way as well. He looks like the professor all the girls have a crush on in this deep blue velvet jacket, long tie, blue jeans, trendy glasses, and just a hint of grey in his neatly-trimmed beard. 

And last, but certainly not least, kudos to Josh Turner for this beautifully-tailored subtle plaid 3-piece suit with bias pockets worn over an open-collared dark plum dress shirt. Classic and dressy without being formal, it’s a perfect look for the CMAs.