Grammy Awards 2025 Red Carpet Review: Embrace the Weird

I caught a few minutes of the Grammy Awards red carpet coverage last night, and it was...awful. Lots of boring black. Lots of visible tan lines. More nakedness than usual. (OK, 99% of the nakedness was just one person, but it outweighed everything else. And no, I won't be showing it here.) Yes, there were a few good looks, but they were few and far between. So let me share with you some of the weirder looks (both good and bad), but at the end I'll cleanse your palate with some of the more successful (and less odd) styles. 

Let's begin with a look that was weird but very cool and very successful. Alicia Keys wore a Dolce & Gabbana design that comprised a black sleeveless column with a round neck and slightly padded shoulders, topped with an ornate gold filigree corset from mid-hip to just under the bust, with sunburst patterns and a visible "seam" at the natural waist. Keys accessorized with oversized gold filigree earrings that hung well past her shoulders, as if they were a detail on the bodice of the gown. I loved the added details of a tiny gold headband and a tiny gold necklace that served to beautifully frame her face. An absolutely gorgeous look.  

An example of a detail that unsuccessfully framed the wearer's face, Alisha Gaddis' black column gown featured two enormous white shoulder rosettes that appeared to be devouring her head. Had the rosettes been half the size, they would have been eye-catching without being overwhelming. The black-and-white dress was a lovely silhouette on her, and the vivid red lips were spectacular, but her head looks like it's floating on a sea of white satin, which is just, well, weird.  

I was fascinated by the structure of Amun Starr's deep rust textured gown, which combined a teddy-style corseted bodice with crushed fabric wrapping in front of the shoulders and over the hips to cascade down the front of the dress, and a voluminous skirt that left front openings below the bodice before joining together at mid-thigh. The look was made even more awkward by a strange tan line on her left shoulder, as if she had gotten a spray tan while wearing a one-shouldered top (she was not alone in her odd tan lines: see also Janine Rubenstein, Janelle Monae, Jess Val Ortiz, Samara Joy, and Monet Mcmichael) as well as a severe center-parted hairstyle with noticeable dark roots. The waves in her hair echoed the ripples of the dress nicely, but the sleeked-back top of the style was unflattering and didn't work with the rest of the look. 

 

Avery Wilson did a better job of balancing weird with wonderful. He paired standard black tuxedo pants with a plain black tux jacket with wide, flared lapels that was covered with pink-and-red fabric flowers. The solid black of the lapels with no shirt underneath both pulled the viewer's eye up to his face and lightened the visual weight of the flowers. One detail I didn't love was the notch in the toe of the silver shoes, which made his feet look like cloven hooves. But overall, this look was weird in a wonderful way.  

Chappell Roan absolutely committed to her weird look as a porcelain doll. Her vivid yellow tulle high-low gown, a vintage Jean Paul Gaultier design, featured images from paintings by Degas, and was accented with light blue tulle swaths and bows, and matching sheer blue gloves and choker. She finished her look with a delightful feathery headpiece, black-and-yellow Victorian boots, and doll-inspired makeup with alabaster skin, pencil-thin eyebrows, and heavily-lined eye makeup with blue and yellow eyeshadow. 

Charli XCX went weird with goth chic in a frothy gray Jean Paul Gaultier dress with an tight corset bodice topped with long, full ruffles falling from the wide v-neck to form a nearly horizontal line, and a ruffled chiffon curtain skirt that was open in the front revealing gladiator-style open-toed laced boots, and falling into a train behind. She eschewed jewelry and wore her hair simply straight with a center part. The lack of color and accessories felt drab, despite the pretty lines of the gown. I felt like it needed to either lean into the weird with some kind of wild headpiece, or to add some touch of life in an eye-catching choker or splash of vibrant color somewhere. 

Chrissy Teigen wore a sheer black structural Christian Siriano concoction with an asymmetrical corset bodice with a sheer v-shaped front panel, and a sheer slim skirt that flared into opaque black ruffles just above the knee to form a puffy train. I loved the curved detail that lifted from the top of the bodice, and the lines of the skirt were fabulous, but the sheer center panel was too wide and the way the front sheer panels extended up over the hip was unflattering even on gorgeous Teigen's perfect figure. I did adore her shorter asymmetrical bob. This look was very close for me, but not quite there. 

Clairo wore a white Miss Claire Sullivan design which featured a knee-length base dress with short puffed sleeves, a ruched button front with a full wrap collar, and an A-line skirt, topped with a Victorian-style polka dot corset and skirt swag. I loved the concept of this look, but the execution fell a little flat for me. I didn't love the gap of plain white between the corset and the swag, and the swag itself looked awkward and bunchy. I think that without the swag, with just the polka dot corset for contrast, I'd have loved it. And I'd have added a tiny polka dot fascinator. 

Another weird look that kind of worked was Doechii's Thom Browne ensemble of a plain white dress shirt with thumbhole cuffs that partially covered her hands and a red, white, and blue stripe on the upper arms, under a tapered form-fitting charcoal grey pinstriped wool dress with dropped shoulder straps, exaggerated hips, and a tiny breast pocket with a peep of white pocket square, and a matching pinstriped necktie. I didn't love the exaggerated hips, although I'll admit that they did create a lovely tapered line, which was accented nicely by the incredibly pointy-toed shoes, and I thought the stripes on the upper arms were unnecessary and distracting. But on the whole, it was a very cool take on classic menswear that was different from what we've seen before. 

Giorgia Sage went for a cowboy look in flared black crushed velvet low-rise pants and a matching cropped peak lapel jacket with 3/4-length sleeves which were fine in themselves. But she wore them over a white shirt with long cuffed sleeves that stuck out far beyond the jacket sleeves, and a loose fit that bagged out over the waistband of the pants. I loved the turquoise bolo tie and black velvet hat, and even the red-and-white print shawl would have worked in a softer fabric and perhaps a slightly smaller size. But the misstep with the shirt made the whole look seem sloppy and poorly tailored. 

Gracie Abrams inexplicably wore a Chanel wedding gown, complete with a built-in veil and a long double train falling from the corners of the veil, as well as a short single train attached to the waist of the dress. Although I liked the wide black belt and the way the bodice was gathered into a small rosette at the bust and extended across the arms to form dropped straps, the bodice looked uncomfortably low and tight, and the hem fell at an odd length. It was a pretty enough look, it just felt like an odd choice for the event.  

Another weird look that I loved was Jacob Collier's rainbow-hued bedazzled tuxedo. The colors and level of sparkle were toned down enough to be eye-catching without being obnoxious, aided by the wide black satin lapels and textured open black shirt with mother-of-pearl buttons underneath, and the casual not-quite-a-tie-not-quite-a-scarf matte black ribbons hanging loose at the neck. The cut and tailoring of the suit were impeccable, with slightly dropped shoulders on the jacket and barely tapered pants, creating a hint of a v-shaped silhouette without being too extreme. And the heavy-soled black dress shoes with white stitching worked with the slightly less formal feel of the look. 

The talk of the night was Jaden Smith's bizarre Transylvanian castle headpiece designed by Abodi, worn with an otherwise classy single-button Louis Vuitton tuxedo with satin lapels, over a standard white dress shirt with a narrow long black tie. Some eagle-eyed viewers wondered if the look was meant to be a tribute to Willem Dafoe's 2023 GC Italia Man of the Year cover photo, but if anyone knew what that connection was, I couldn't find it. The highlight of this otherwise elegant look was his beautiful black shoes with delicate white piping details, but alas, the headpiece was a blatant attention grab and a definite lowlight. 

A more elaborate and all-encompassing "bad weird" look was Julia Fox's combination of a black bra and thong, a sheer black mesh crop top and micromini, a cropped black leather jacket with deep white cuffs, above-the-calf platform combat boots, a black Juliet cap, and...a pair of yellow dishwashing gloves? I'm all for a pop of color, but she lost me with those gloves. The rest of the outfit isn't terrible, aside from the sheerness of the mesh. But if those two pieces were a little more opaque, the cuffs were smaller and silver, and the gloves were satin (and maybe not yellow), it might have worked for me. But as it was...weird. 

I loved Kacey Musgraves' metallic gold fringed Ralph Lauren skirt, which incorporated several shades of gold that caught the light and moved beautifully. I even liked her western-style belt of large silver ovals. But the plain white tank top  made me wonder if she'd forgotten the jacket or shirt that was supposed to go on top. It felt oddly unfinished and informal. 

I usually love Lady Gaga's looks, even some of her odder ones (and that bar is set pretty high). But her goth Samuel Lewis gown, which featured raised shoulders, a high collar, front lacing, and a voluminous skirt with a side slit, was just too busy for me. There were too many attention-grabbing details, making the look lose focus. I was also not a fan of the babydoll bangs with longer chunks of side-bang and the bleached eyebrows, which made her face look expressionless and bland. Even for Gaga, sometimes less is more. 

Did we not learn from Demi Moore at the 1989 Oscars? Bike shorts, with or without a 3/4 skirt over them, is not a Good Look. But Lady London gave it a shot in this all-black ensemble with a zip-front romper with stand-up collar and double-layered, padded cap sleeves and huge, angular panniers forming a modified bubble skirt, accessorized with platform sandals with wide ankle straps, large silver cuff bracelets, handfuls of large rings, a high pony with slicked-down tendrils above each temple, and impeccable makeup. From the waist up she looked great; I loved the lines of the extended shoulders of the bodice. But the panniers were ugly and too wide, and the whole look felt unbalanced and clumsy.  

In a similar vein, Lakecia Benjamin wore a gold lamé ensemble comprising a long-sleeved, high-necked, empire waist gold romper with gold piping and crystal details on the bodice, a floor-length semi-sheer sparkly gold cape with wing details on the shoulders, and gold thigh-high platform boots. To add insult to injury, the outfit was so poorly tailored that her belly button was clearly visible through the fabric. Worst. Superhero. Ever. 

By comparison, Lalah Hathaway's outfit wasn't bad at all. Her dark gold gown featured extended, squared-off shoulders, a keyhole front opening, floor-length fringe all over, a built-in fringe cape, and a short train. The square shoulders made her look bulkier than she needed to be, but the long fringe was lovely when she moved, and the lines of the bodice were flattering on her voluptuous figure. Lose the long sleeves and the giant shoulderpads, and this look could be a winner rather than a weirdo. 

Laura Carpman embraced the weird in this delightful black-and-white Beetlejuice-esque ensemble. Her eye-boggling black-and-white variegated glen plaid pants and the oversized pointed lapels of her black-and-white narrow-striped shirt were busy, but were offset by the solid black hip-length jacket and waist-cinching wide white belt. Her accessories were also nicely balanced, with just a few long beaded chains and a pair of retro pointed black-and-white sunglasses. This is the way to do weird. 

In lieu of a tuxedo jacket, Mustard topped his black tuxedo pants and white dress shirt with long black necktie with what appeared to be a hand-knitted zip-front cardigan in variegated black and beige with wide cream edging and pocket trim. Maybe it was cold in the theater; maybe his Grandma knitted it. Maybe he should have made a less weird sartorial choice. 

Nikki Glaser's Stella McCartney dress wasn't bad except that the horizontal line of the jewel neck and squared shoulders, combined with the overlapping drape of the capelet, looked like a pair of old-fashioned curtains. Maybe she saw it in the window and just couldn't resist it? 

Norah Jones should have taken notes from Laura Carpman's restraint (no, seriously) and changed some of the busy details in her short-sleeved, above-the-knee frock. It featured a busy black-and-gold print, high button neck, lacy yoke, sheer black bodice overlay, short cuffed sleeves, and rows of metallic discs running down the front with adjacent black wedges, topped with a wide red buckle belt. Too many tiny, busy details! I love the red belt, but either keep the metallic print in the sleeves and skirt sides and make the front panels solid black, or keep the studded panels and make the sides solid black. But our eyes need a break!

Pei-Tzu Lee had a similar "busy-ness" problem in her cobalt blue and flame orange chevron gown, which featured a high neck, long puffy sleeves with deep cuffs, circular cutouts at each side of the waist, and a long blue ruffle falling from an orange zig-zag band just below the knee. The silhouette was terrific, and very flattering on her, but the busy pattern combined with two very strong opposing colors was a bit of an assault on the eyes. I loved the broader bands of color in the cuffs, neck, and shoulder seams, as well as the ruffle and zig-zag hem band, but the narrow chevron pattern in those two colors was too much.

Poppy wore a red satin Simone Rocha shift minidress with puffed sleeves that ended just below the elbow, a draped jewel neckline with snap closures, and a short, geometric chopped-out hem over a pale pink super-full crinoline with a satin underlayer, accessorized with matching pale pink ankle strap platform sandals and a pale pink satin reticule. While there was some degree of cuteness, the lack of structure in the red dress looked droopy and ill-fitting, like it was sliding down off her shoulders. And although I appreciated that the designer toned down the fullness of the tutu-style tulle layer from the original design, it needed a more cinched-in or at least defined waist to be in proportion.

Shawn Everett wore a red and white ensemble comprising red leather leggings under a robe that seemed to be based on a traditional tracksuit from the waist up, with white piping down the shoulders and sleeves, a raised white collar, and white cuffs at the end of 3/4-length sleeves over long red leather gloves, but then dropping straight to the floor, caftan-style, with two thigh-high slits in the front. Each of the components wasn't terrible on its own, but combined it was just a style mish-mash that didn't mesh. 

Is that Marie Antoinette? Or a fairy princess? Maybe even Glinda the Good Witch? Nope, it's Sierra Ferrell, in a frothy white off-the-shoulder Jeffrey Kelly Abess gown with pearl beading on the bodice, layers of sheer iridescent ruffles at the shoulders and panniers, pearl and crystal patterning and trailing strands of beading on the full skirt, long narrow ribbons falling from the wrists, a thickly ruffled and beaded floating collar, and a bridal-like headpiece with a pearl circlet and veil with large structural pearl and floral details jutting out at the sides. Oh, and she was carrying a large, pearl-encrusted scepter, because what else would you wear with this outfit? The construction was impressive, but the look was A Lot.

Proof that a single detail can ruin a look, St. Vincent wore an otherwise respectable (if not especially memorable) black tuxedo mini-dress with black tights and pointy-toed black slingbacks, but then for some unknown reason decided to throw on a pair of semi-sheer white knee-highs as well. The black gloves, large ring worn over the glove, diamond tennis bracelet, and diamond ear cuff were great accessories; the knee-highs were not. 

Teddy Swims wore a beautifully tailored 3-piece tuxedo in champagne satin over a slightly darker champagne shirt. The edges of the double-breasted waistcoat (which had brass buttons) and the jacket lapels were trimmed with rows of gold pearls, and the body of the jacket featured lines of various sizes of white, gold, dark gold, and brown pearls. He finished off the look with cream-colored cowboy boots with gold toe caps and a pearl-studded cream-colored satin Gatsby cap. The fact that he chose the look because he has a baby due in June, who will have pearl as a birthstone, made the look even more sweet. Pearly King, indeed - weird, but a definite winner. 

Tefi Pessoa could actually have pulled off the unusual mustard color of this dress, but the droopy, shapeless lines were too much for her. She looked like she grabbed her 6-foot-7 dad's bathrobe to answer the door. Shorten the sleeves by 18 inches, bring in the shoulders by 2 or 3 more, reduce the volume of the wrapped fabric, nip it in at the waist to create some shape, and you might have a look that works. But this? This was weird. 

When you're dressing a client like Victoria Monet, with killer abs and a very straight, athletic build whose figure doesn't nip in at the waist, with narrow hips and not a particularly large bust, a low-rise skirt or pants with a bandeau top is not a bad choice. But the floating bodice sat oddly high on the bust, highlighting underboob rather than cleavage, and the flared vertical band connecting bandeau and skirt was oddly proportioned and looked off-center whenever she moved. Also, the slight curve of the waistband would have been more flattering if it hit the top of the hipbone at each side and dipped to the same level as this design at the midline. I loved the cape that clasped at the neck with a diamond snake collar and formed a type of sheer cuffed sleeve, as well as a short train, and her shiny high ponytail and cream manicure were nice touches. But the overall effect is a little weird.  

There are times when I am in favor of visible lingerie on the red carpet. But Willow Smith's Alexander McQueen ensemble, gorgeous as the individual pieces are, did not work for me. On the beach, her black bustier top and high-waisted panty, both encrusted with crystal starbursts, would look amazing. And over a different underlayer, I might have liked even the over-emphasized shoulders and too-long sleeves of her tuxedo-styled ankle-length black overcoat. But neither one worked on the red carpet, and certainly not together. The bustier and panty were great cuts for under a semi-sheer minidress, and the overcoat might have worked under a light-colored dress or cropped ankle pant and simple top. But they were different levels of formality and completely different aesthetics, and it just didn't work. And don't even get me started on that horrible grill. 

And now for the great red carpet looks that were only wonderful, and not weird at all. (Or at least, only a tiny bit weird, but in a good way.)

Brandon Victor Dixon rocked the red carpet in a cranberry crushed velvet double-breasted tuxedo jacket with half-satin notched lapels, darker cranberry tuxedo pants, a snow-white tux shirt and perfectly hand-tied matching cranberry bow tie, finishing with a stunning pair of burgundy patent opera shoes with satin tops. 

Sabrina Carpenter's ice blue satin halter mermaid gown by JW Anderson fell just short of the "weird" label due to its balanced proportions. The halter was topped with a twisted knot that tied onto a rope of pale blue and white gemstones that fell all the way down the open back, ending in a large pale blue gem surrounded with rhinestones in a starburst pattern.  The gown featured a circle of soft marabou feathers at the hip, forming a kind of peplum, and horizontal seam just above the knee, at which point the skirt flared into a smooth circular train trimmed with more marabou. It was the perfect blend of old Hollywood glamour and a few daring details. 

Cynthia Erivo was striking in a two-piece Louis Vuitton design, which layered a sleek, fitted midnight blue gown with long sleeves, a flared skirt with a short train, and a plunging v-neckline, over a metallic silver satin cropped top with a high neckband and an inverted-v hem, which nicely framed Erivo's perfectly toned abs. The simplicity and elegance of the look was accessorized with two unmatched diamond cuff bracelets worn over the sleeves, a handful of sparkly rings, and Erivo's signature long blingy manicure and rows of tiny silver hoop earrings mixed with a few delicate diamonds. Magnificent. 

Jim Gaffigan made my best-dressed list? Really? Yes, indeed he did. His newly-trim physique was flattered by a well-tailored standard black Canali tuxedo that he wore over an open-necked white dress shirt with narrow vertical black stripes, and finished with a spectacular pair of black-and-white patent leather shoes with white uppers and black toes and laces. Well done, sir!

The always luminous Kelli O'Hara wore a Grecian-style strapless Gemy Maalouf gown that featured multiple bands of charcoal-gray crystals across the matte-finish bodice creating a fitted silhouette above a full, soft-tulle skirt. It wasn't the perfect color for her, but she still looked amazing - and comfortable. 

As much as I hate to admit it, Paris Hilton looked spectacular in a sheer pale gold gown with a plunging neckline, embellished with crystal beading radiating from the center front, and topped with a graceful, floaty cape. I even liked her rose-tinted sunglasses. 

Raye's impossibly shiny black strapless Armani Prive column featured a crystal-encrusted sweetheart neckline and a short train. A good example of a fabulous fabric standing up to a simple design and a restrained hand with embellishments. 

I love a good monochromatic satin tuxedo, and Ricky Dillard's super-shiny ensemble was exactly that. Everything from the straight-leg tux pants, to the double-breasted jacket featuring pocket flaps and a ribbon tie closure rather than buttons, to the satin shirt with oversized pointed collar and long necktie, to the ankle-length high peak wide lapel overcoat casually draped over his shoulders, to the flat-brimmed hat with ribbon edging, to the patent loafers with gold buckles, every detail is simply *chef's kiss*.

Another edgy look that tiptoes up to "weird" without actually getting there, Shaboozey wore a Diesel design double-breasted straight-hemmed jacket in a silver glen plaid. In lieu of lapels, the neckline of the jacket consisted of long fringe along the left side. The lower part of the fringe was tossed over his right shoulder, while the upper part was twisted into a kind of scarf that wrapped over his right shoulder and around the back of his neck before falling straight down over the front of his left shoulder. There was just a peep of a black collarband shirt closed with a beautiful diamond brooch, and the look was finished with black tuxedo pants and square-toed patent dress shoes. An absolutely fantastic look. 

Any favorites that I missed? Anything you considered weird that I didn't mention? Let me know in the comments!

2023 Grammy Awards: Red Carpet Review

Put on your seatbelts, people, because there was a LOT to discuss on last night's Grammy Awards red carpet! I've broken the looks down into a number of categories. Let's start with the bland and the bad, and work our way up to the fantastically fabulous. 

Bland and Bad

Paris Hilton's metallic column had a lovely silhouette and the fabric was wonderful, but the oversized keyhole cutout was disproportionate and oddly tied together. Her messy half-topknot was also too casual for the glamorous dress, although the cascading super-blond, super-straight locks were lovely.

Lourdes Leon's snugly-fitted red gown was well-tailored and elegant, and the color was absolutely striking on her, yet the overall look came off as very bland to me. Perhaps some more dramatic jewelry or a contrasting bag or wrap might have livened up the look. 

The concept of DJ Spindoctor's outfit actually really worked for me: the Flashdance-styled sweatshirt with graffiti lettering suited her style, the leather miniskirt with front zip and side lacings was coolly chic, and the pointed slouchy boots were great, but the top (which was clearly meant to be baggy), was snug against her belly in a very unflattering way. 

There were definitely details I loved about Maren Morris' silvery gown: the scalloped edges at the hem and neckline, and the subtle sparkle of the fabric. But the overly-plunging neckline surrounded by a heavy cowl managed to look both too bare and too bulky, and the granny panties broke up the line of what could have been a long, lean skirt. 

Adrienne Bailon-Houghton's semi-sheer black dress was so close to being a win; however, the diamond "bra" pattern on the sheer bodice was not aligned with the real bra underneath, which completely ruined the shape, and the clear toe strap of the sandals made her feet look oddly shaped. I did love the jeweled bands at the neck that echoed the jeweled bands of the bra pattern, and I would have loved to have seen a jeweled toe strap bringing it all together. 

Rita Wilson was not well-served by this matronly mishmash of a look. The single bare arm and straight skirt on one side was completely out of proportion with the heavy, muumuu-type style on the other, making her look horribly lopsided, and I didn't like the combination of sequined bodice, velvet skirt, and heavy marabou trim running from the sleeve to the hem. 

Brooklyn Queen's outfit wasn't terrible, it was just overly simple and a little tacky. The spaghetti-strap catsuit was a good base, but accessorized by only a pair of thigh-high boots tackily adorned with a million stickers and a cute purse that looked like a bejeweled radio, it just wasn't enough. (Fun fact: A small evening bag made or of covered with metal pieces or jewels is called a "minaudiere.")

McKenzi Brooke's look was clearly an attempt to be cowboy glam, but it just didn't work. The plain black cowboy hat and charcoal grey boots weren't quite dressed-up enough to go with the super-ruffly, super-sparkly gown. If the gown had been a little toned-down or the hat and boots a little glammed up, it would have been a much more cohesive (and successful) look. 

Naz Perez also struggled with combining pieces that weren't terrible in and of themselves, but that just didn't work together. I actually liked her black-and-blue long cape, but pairing it with a solid blue catsuit was just boring. Add a sheer skirt, make the catsuit sparkly, do something to dress up the underlayer, and you'd have a much better look. 

Close But Not Quite

Frequently, a look would be great except for one aspect or detail, or perhaps it was missing a detail. In the case of Megan Fox, the missing detail was proper fitting. The gown itself is fabulous, but the bodice is clearly too tight and pushing her breasts up uncomfortably. It's not even too low-cut, the cups are simply too small for her. What a shame. 

H.E.R.'s look had the same problem, only more so. I loved the textured straight skirt under the solid black double-ruffled peplum, but the bodice was both too low and too tight. It's not a flattering look.

Ashley McBryde's dress wasn't so much poorly fitted as not designed for such a voluptuous figure. There was neither enough coverage nor enough support to be flattering, which is a shame because the lines of bodice were very graceful and pretty, and I loved the way it framed her tattoo between the bodice and the diamond choker. But her figure looked droopy and shortwaisted.

I loved Amber Rose's simple black micro-mini bandage dress with dropped shoulder straps, especially paired with a heavy choker, studded fingerless gloves, and terrific lavender sandals. But what was with the black tights? (With SANDALS?!??) Not a good choice. 

Ginger Gonzaga's black lace corset-style top featured fun cutouts and straps and was beautifully tailored for her. But the granny shorts and sheer black hose were the wrong choice to go with it. This outfit was begging for a leather miniskirt or a long pencil skirt with a deep slit. The outfit as it was looked like it escaped from a production of Chicago or Cabaret. 

I loved Gayle's sheer dress with black detailing, but I hated the stark black panties. I'm not sure whether the top was illusion fabric or if the black stars were simply very strategically placed, but it looked strange to see panties but not a bra, and the single patch of contrasting color pulled the viewer's eye down and away from her face. 

Ingrid Andress' bodice consisted of a fascinating pattern of diamond and triangle panels joined at the corners, then the solid skirt began at the hip. But despite its simple, sleek cut, the skirt looked heavy in contrast to the bodice. I would have loved a few lines of silver in the skirt echoing the bodice to tie the parts together and even the balance.

Anna Sitar's bodice was an interestingly asymmetrical shape held together by illusion fabric, which I really liked, especially with the tiny straps. But as she moved, the fabric of the skirt bunched awkwardly at the waist and hip. Not pretty.

I loved the drama and simplicity of Emma Brooks McAllister's long-sleeved, square-shouldered red column with deeply plunging neckline nearly meeting the high front slit. But the dress was too loose and shapeless at the waist, resulting in an almost baggy silhouette. Nip it in at the waist and it would be a terrific look.

Two Piece

Two-piece looks can be great when there's balance and proportion. But Camila Cabelo's sheer jeweled bra with white rosettes was too tiny relative to her high-waisted, straight but heavy skirt. It made her look extremely bottom-heavy, short-waisted, and hippy, which she is NOT. 

Taylor Swift has the height, the grace, and the abs to pull off a two-piece gown to sheer perfection. All the little details are right: slightly overlong sleeves, a rich color with just a hint of sparkle, fabulous chandelier earrings, and a neat little puddle of train. She's got style for days. 

A very different - but nearly as successful - take on the two-piece was Tiara Thomas' sheer sparkly thigh-length skirt and long-sleeved, boat neck crop top. With abs like a marathon runner and a streetwise air, I especially loved the delicate, feminine touch of the purple strappy sandals. 

Yet another variation, Charlotte Lawrence wore a very low-slung black pencil skirt with a stylized bandeau ruched into a center diamond-shaped panel. Although the hip-hugging skirt didn't land at the most flattering level, it wasn't bad, and the rest of the look was fabulous, especially the deep red lip.

I almost included Zanna Roberts Rassi's red alligator bandeau top and pencil skirt in the "Bland" category. Despite the visual interest of the vivid, shiny, textured fabric, the simple straight lines and complete lack of accessories resulted in a bland look overall. 

Cut-Outs and Straps

My favorite detail of Julia Michaels' white gown was the contrast of the super-straight bateau neckline and rectangular skirt panels with the curved, deep insets at the sides of the waist. Adding a hint of sparkle along the edges of the cutout and a tiny pop of color with deep periwinkle sandals was the icing on the cake. 

Kandi Burruss' gown, on the other hand, had an open back that just barely peeked around the sides, but that was just enough to prevent her crinkled, form-fitting, long-sleeved blue gown from being too prim and demure. I loved the shiny silver leaf detail down the front and the tiny hint of a train. 

Madeleine White's gown had some similarities to Julia Michaels': a bateau neckline and waist cutouts with silver edging. But White's didn't quite have the dramatic pizzazz of Michaels'. Perhaps it seemed to play it a little safe by comparison. Not a bad look at all, just not quite as memorable. 

Nija Charles wore a clinging metallic silver gown with a large diamond cutout at the front, making it almost but not quite a two-piece look. While I liked the overall silhouette and lines, both the neckline and the cutout were a little lower than I would have placed them, not because they were too revealing, but because it makes Charles' torso look too long and her legs too short. Always watch the proportions when designing cutouts! They need to be adjusted to the wearer.

If I cover up Bebe Rexha's dress from just above her waist up, I am absolutely in love with this dress. The wrapping detail at the waist and hips is simply exquisite. But above the waist, the proportions get all out of whack. Rexha is gorgeous, but the separation of the bodice "straps" makes her look very broad, and the way they pull in at her neck looks uncomfortable and unflattering. A few changes to the bodice and this look would definitely have been in the "fabulous" category.

Dear Berit Gilma, no one wants to see that much of your underboob. Well, no one who's thinking about fashion, anyway.

Pantsuits

Wide-legged pantsuits were in on the red carpet, and MC Lyte did it up right in a white pantsuit with black piping and lapels. It was simple, sleek, and effective. If I had to nitpick, I did wish the bottom of her black bra didn't fall right at the jacket closure, so occasionally a peep of skin showed underneath. Either higher, so the whole front of the bra was clearly visible, or lower, so it was more like a tank. But really, a very nice look. 

Brandi Carlile's pantsuit was more stylized, with a nearly knee-length black satin jacket with bugle beading down the sleeves and matching pants, worn over a vivid pink shirt with a super long, super thin black necktie. If I had to quibble here, I would have given the jacket a little more shape (nipped in a hair at the waist, or slightly flared at the bottom), but I liked the look as is. 

Jessy Wilson's oversized white suit featured starburst cutouts all over the pants and jacket, and was worn over a simple, casual white bandeau. It was wonderfully tailored so it was indeed oversized and not just baggy or ill-fitting, which is not an easy feat. Nicely done. 

Too Much

Yet another attempt at pairing a catsuit with a cape, Kacey Musgraves went for soft pink and a frothy eyelash cape that just barely deepened into a darker pink at the bottom. It was too big, especially at the shoulders, and overwhelmed her petite frame. Good idea, but just too much for her. 

Prints don't always work well on the red carpet, as demonstrated by Nancy Wilson's double-layered, patterned top. The print is too busy, the top is slightly too snug (as evidenced by the way the outer shirt flares open below the button), and the few inches of black between the bright top and the bright boots is too much of a visual break. That said, I absolutely love those magenta suede boots, enough that I forgive her for the bad top(s). 

Sierra Ferrell looks like she was aiming for "forest nymph" with this frothy, concoction topped with a flowered hat. I liked the corset top, but the sheerness of the top part of the skirt contrasts oddly with both the hotpants underneath and the tall, full ruffled hem. A little less volume and sheerness in the skirt, and this look might have worked very nicely. 

I'm still not sure what Shania Twain was going for here. Mad Hatter? Mad Cow? Lost a bet? It's just too sparkly, too flared, too oversized. Just...too TOO.

When I first saw Lizzo's orange outfit, she had the hooded cape up over her head and I HATED it. It was too huge and too frothy. But with the cape off her shoulders like a wrap and the lovely lines of her corset top showing, I liked it a lot. The two oranges didn't quite coordinate as much as I would have liked, and the skirt is a little too snug at the waist (a corset that fell about 3" lower would have worked much better), but the little detail of the flower in her hair that matched the flowers on the cape won me over. 

I got a serious 1980s flashback from Hannah Monds' gown, which featured a leather bodice with metal rings and studded straps, a studded belt, and opera-length black leather gloves, and a 4-tiered, hugely full, magenta ballgown-style skirt. I think it was the fullness of the skirt that made it feel off to me. The top tier was short and nearly horizontal, giving off a tutu-like feel and a sense of overall volume, rather than gradually gaining fullness toward the hem. Not awful, but very bottom-heavy and short-waisted-looking.

Alex Ritchie was channeling Pharrell Williams in an oversized white coat with plaid lapels and wide-brimmed, wide-crowned white hat. In contrast to Jessy William's oversized white suit discussed above, Ritchie's coat felt too big and poorly-fitted rather than deliberately oversized, due to the overlong flared sleeves and square but drooping shoulders, as well as the way the fabric folded awkwardly in on itself at the front hem. Good concept, poor execution.

Alisha Gaddis looked like a human flower garden in this flower-laden ballgown with bell skirt and hugely frothy, oversized tulle sleeves. Too many colors, too much volume, too much texture, and too much tulle. 

I'm not sure what look Cecile McLorin Salvant was aiming for, but I don't think she hit it (at least, I hope she didn't). The bright pink satin is a beautiful color on her, but the ruffle upon ruffle muumuu style is not doing her any favors, and the metallic gold stovepipe hat and platform clogs are a little too Seussian for the red carpet. Too cartoony. 

Runway Couture

Wild couture on the red carpet can be brilliant or horrifying, but Cardi B knocked it out of the park in this stunning cobalt blue gown with softly draped skirt and fantastically structured, soaring shoulders that somehow rise into a hood. I am fascinated by the construction of this gown, including how it can magically look sturdy and flowing at the same time. Simply marvelous. 

Yola's couture look was not quite so successful, mainly due to poor fitting. Her short-waisted jacket rides up awkwardly when she puts her hands on her hips, probably because the diagonal hip detail blocks her natural hip. Although I like the angle of the detail and the train trailing down from it, the fabric (which appears to be pleather or something else with a lot of body) looks rumpled and slightly wrinkled. But I do love the fabulous hat, particularly the way it's tilted rakishly with the vivid red ponytail carelessly tossed over her shoulder. Slightly lacking in execution, but not terrible. 

I'm sorry, Blac Chyna, but all I can think of when I see this outfit as that time when Blanche, Dorothy, and Rose played Loosey Goosey, Turkey Lurkey, and Henny Penny on The Golden Girls:

BAWK BAWK!

Back to runway chic done right with Angela Benson and her strapless black satin mermaid gown with metallic gold embroidery, topped with a fabulous silver-and-gold, Indian-inspired circular headpiece with long chains cascading down on either side. Fantastic. 

Dencia channeled Lady Gaga in a black gown with a dramatic blue jeweled standup cape/collar/hood. It stopped just shy of being truly over-the-top, and the very plain sunglasses were exactly the right finishing touch for her aloof, otherworldly look. 

Grace Modi could have walked directly from the runway to the red carpet in this spectacular black gown with silver detailing on the bodice and a beautiful collar that curled and curved down the side of the bodice before vanishing into the slit of the skirt. Her almost-shaved head and icy stare completed the look to perfection. 

 Frankly Fabulous

I'm not usually a fan of vivid yellow dresses, because so few people look good in that shade. Kelsea  Ballerini, however, makes it work in a big way in this glorious, sunshine yellow, strappy dress. I especially love the fitted ruching at the hip and the silver banding at the hip, waist, and bust. My only nitpick here is that her cleavage is noticeably paler than the rest of her skin - a little foundation or bronzer might have evened that out. 

Dylan Mulvaney's fabulous look made me think of an updated Audrey Hepburn. I loved the combination of the sleek, straight red halter column with angled cutouts, prim red opera gloves, and sleek, stark makeup and updo. LOVE IT.

Adele knows how to take a simple dress and add one extreme detail to make it work. This rich burgundy velvet column with a narrow self-belt could have been boring, but add a deep sweetheart neckline and large (but not disproportionate) wavy shoulder details, and you have a winner. 

Jennifer Lopez rarely hits a false note on the red carpet, and this magnificent gown is no exception. With a leotard-style underlay topped with sheer panels and long metallic silver chains, finished with a deep midnight blue ruffled train, this look slays. 

Another look that absolutely slayed was Anitta's textured black gown with corset bodice, fitted to mid-thigh, then flaring into a voluminous yet light ruffled train. The sleek auburn hair and dark lip were the perfect finishing touch. 

Super feminine without being girly, Alisun's sheer periwinkle gown revealed sparkly panels amid the chiffon of the bodice, and descended into a floaty side train. I did find the sleeves to be just a bit overly puffy and heavy, but that was a minor objection to a generally very nice look. 

All-gold gowns on the red carpet are always a good choice, and Coco Jones went classic in her gold halter gown with fitted bodice and A-line skirt with a wide, flared slit. I loved the way the metallic gold faded towards the hem, which tended to bring the viewer's eye upwards. 

Doja Cat rocked the goth look in a shiny vinyl one-shouldered mermaid gown with matching long gloves. Morticia Addams would be proud. 

Amanda Kloots proved that simple and classic can be a win in this one-shouldered black velvet gown with just a hint of a flared skirt. The lacing down the side of the bodice is a lovely detail that makes the whole look work.

Yet another fabulous one-shouldered gown, Tessa Brooks wore a brilliant orange gown with ruched bodice, also showing a peep of skin at the side, and a light, floaty skirt with a to-the-hip side slit and short train. Absolutely gorgeous lines, and an absolutely gorgeous look. 

Did I miss any looks that you loved or hated - or at least, remembered? Let me know!