My Favorite Easter Recipes

I like predictability, so it should come as no surprise that most of my holiday menus change very little from year to year. Thanksgiving always calls for crispy sweet potatoes and a spatchcocked turkey; Christmas is always Beef Wellington; New Year's Eve is an array of appetizers that inevitably includes spanakopita and Philly Cheese Steak rolls; my husband's birthday was always lasagna and a chocolate Gingerbread Man cake. 

And Easter is always lamb. My husband usually made a crown roast with rosemary, or occasionally a grilled leg of lamb. Since I'm now the Easter chef, I'm going back to my archives of Easter recipes to find a lamb recipe that I think I can do justice to, or possibly a ham or beef dish. But I'm not just looking for entrees; I'm looking at different kinds of appetizers, sides, and desserts, as well. Here are some of my favorite Easter recipes, both ones I've made and ones I'm looking forward to making at some point.

Appetizers

Since Easter dinner happens after church, I like to have a few light appetizers ready for my guests as soon as they arrive, while I finish getting the meal ready. I plan to have things made ahead so they can either be served cold or  popped into the oven shortly before the guests are due. 

Traditional Deviled Eggs

12 eggs, hard boiled & peeled (I make them in the Instant Pot using the 5-5-5 method)
½ cup mayonnaise
2 tsp yellow mustard
1 tsp white wine vinegar
pinch of salt & pepper
Smoked paprika, for garnish
Cooked and crumbled bacon, optional, for garnish

Cut the cooked eggs in half lengthwise and arrange the whites cut-side up on a serving plate.

Place the yolks in a small mixing bowl and mash with a fork. Stir in the mayonnaise, mustard, and vinegar, mixing well. Add the salt & pepper and mix well again. Spoon the mixture into a small piping bag fitted with a star tip and squeeze a small dollop into each egg white half. (You can also spoon the filling in, if you prefer.) Sprinkle the filled eggs with smoked paprika and crumbled bacon, if desired.

Serve immediately or refrigerate until ready to serve.

Spinach Artichoke Dip

9 oz frozen spinach, thawed
8.5-oz can artichoke hearts, drained
8 oz cream cheese, softened
1/2 cup fresh grated parmigiano reggiano cheese
8 oz shredded mozzarella cheese
2 garlic cloves, minced (or 2 tsp minced garlic)
1/2 cup sour cream
1/2 cup mayonnaise
2 Tbsp fresh minced parsley
salt and pepper to taste
4 oz shredded mozzarella cheese to top
1/4 cup grated parmesan to top

Pre-heat the oven to 375 degrees. Squeeze out excess liquid from spinach. Dice artichoke hearts into bite-sized pieces. In a mixing bowl, combine cream cheese, mozzarella, parmesan reggiano, garlic, sour cream, mayonnaise, parsley, salt, and pepper. Mix until thoroughly incorporated. Stir in the spinach and chopped artichoke hearts. Transfer into a lightly greased baking dish. Top off with shredded mozzarella and grated parmesan. (You can prepare ahead to this point and refrigerate overnight.) Bake at 375 for 15-20 minutes.

Serve with pita or bagel chips and/or vegetable dippers. 

Dill Vegetable Dip

1 cup sour cream
¾ cup mayonnaise
2 ounces cream cheese, softened
1 Tbsp dried dill
1 Tbsp dried chives
½ tsp salt
½ tsp onion powder
½ tsp ground celery seed

Add all ingredients to a small bowl and stir well to combine. Cover and refrigerate for 2 hours or more to allow the flavors to meld. Serve with assorted vegetables for dipping.

Main Dishes

Lamb is traditional at Easter, but so is ham, so I've included some recipes for both, plus a luscious beef option. A pre-cooked ham is quick and easy if you're pressed for time; add a simple homemade glaze for an elegant and delicious presentation. 

Rosemary and Garlic Rack of Lamb

2 x 1.3lb racks of lamb, frenched

Marinade:
4 garlic cloves, minced
1 Tbsp fresh rosemary, finely chopped
4 Tbsp extra virgin olive oil
1/2 tsp salt
1/4 tsp black pepper

Cooking:
2 Tbsp olive oil – for searing (1 tbsp each rack)

Basting finish:
2 Tbsp butter
2 garlic cloves, smashed
1 sprig rosemary

Combine marinade ingredients in a large ziplock bag. Add lamb, massage to coat, then seal and marinate in the refrigerator for 24 to 48 hours. Remove lamb from fridge 1 hour prior to cooking.

Preheat oven to 400 degrees. Heat 1 tablespoon of oil in a heavy, oven-proof skillet over high heat. Sear each lamb rack on all sides until golden brown, including the ends. Place the skillet with both racks in the oven and roast for 15 minutes, or until the internal temperature is 135 degrees (for medium-rare). Remove from oven. Finish by add butter, smashed garlic and rosemary to hot pan. Spoon the melted butter over the lamb continuously for 30 seconds. Remove lamb from skillet and place on a rack set over a tray. Pour butter remaining in the skillet over lamb. Cover loosely with foil and rest for 5 minutes before carving. Cut lamb into individual cutlets or several cutlets per slice. 

Roasted Lamb with Rosemary and Garlic

2 lb leg of lamb, joint bone in
1 tsp honey
½ Tbsp lemon juice
½ tsp Dijon mustard
½ Tbsp olive oil
2 sprigs fresh rosemary
3 cloves garlic
¼ teaspoon salt 

Preheat oven to 325 degrees. Make incisions into the fatty side of the lamb joint with a small sharp knife, evenly spaced over the top and side of the joint around 1 to 2 inches apart. Mix together the honey, lemon, mustard and oil, pour it over the lamb, then rub all over. Peel the garlic and cut into long strips, around 6-8 per clove. Break the rosemary stems in roughly 1-inch lengths and stuff a piece of rosemary and a piece of garlic into each incision in the lamb. Sprinkle with salt and roast for about 20 minutes per pound medium-rare (25 min for medium, 15 for rare), checking internal temperature for desired doneness (125F for rare, 130F for medium-rare, 135-140F for medium, and 155-165F for well done). 20-25 minutes into cooking time, add a few tablespoons of water to the bottom of the dish.

Remove from the oven and allow to stand for 10-15 minutes before carving. Scrape any stickiness from the cooking dish and mix with the leftover cooking liquid and pour over as a gravy. You may add a little cornstarch if you prefer a thicker gravy. 

Glazed Easter Ham

1 fully cooked ham
1/2 cup honey
1/2 cup brown sugar
1/4 cup brown mustard
1 tsp black pepper
1 tsp garlic powder

Preheat oven to 325 degrees. Place ham, flat side down, in a roasting pan. Score the fat in a diamond pattern, cutting about 1/4-inch deep. Whisk together remaining ingredients until smooth. It should look glossy and pourable. Brush a thin, even layer of glaze over the ham. Roast uncovered for 15 minutes per pound, basting every 15–20 minutes with more glaze. The glaze should bubble and darken to a deep amber. For crisp edges, switch to broil for the last 3–5 minutes, watching closely until the sugar edges are shatteringly crisp. Let rest for 10 minutes before slicing. 

Honey Baked Ham

1 half spiral cut ham (7-8 pounds; fully cooked and smoked)
2 Tbsp butter, melted
1 Tbsp Dijon mustard
1/3 cup honey

For dry rub:
1-1/2 cups sugar
1/2 tsp nutmeg
1/2 tsp cloves
1/2 tsp cinnamon
1/4 tsp paprika
1/4 tsp ginger
1/4 tsp allspice

Place an oven rack in the lower third of the oven and preheat to 325 degrees. Remove all wrap from ham, including netting and cap over the bone, if present. Place ham flat-side down on a rack in your roasting pan or a rimmed baking sheet. 

In a small bowl, melt the butter. Stir in Dijon mustard and honey. Massage into ham on all sides. Add about a cup of water to the bottom of the pan. Cover the ham and pan completely with foil.

Bake at 325 for about 2 hours and 20 minutes, or about 20 minutes per pound of ham, until the internal temperature reaches 140 degrees. Remove from oven and let rest for 15-20 minutes (foil on). 

While ham is resting, combine sugar and spices in a small bowl. Pour 3/4 cup of the mixture into a rimmed baking sheet. Add the remaining 3/4 cup to a small saucepan and set aside. When ham has rested, brush edges with pan juices if dry. Carefully transfer to the pan with the sugar. Roll in sugar (not the flat side), using your hands to pat on more sugar as necessary, until well coated. Use a kitchen torch to caramelize the dry rub. Hold the flame about an inch from the ham and keep it moving in small circles until the grains of sugar melt and create a shiny, crackly shell. Cover the ham with foil and place back in the oven at 165-170 degrees to keep warm. 

Place the fat drippings from the pan into a sauce separator and pour about 1/3 cup into the saucepan of sugar. (Or add 1/3 cup water instead of drippings.)  Stir together and bring to a boil over medium heat. Let boil for about 2-5 minutes, until thickened into a glaze consistency, then remove from heat. Serve with the ham. If it begins to harden, reheat in microwave or saucepan.

Beef Tenderloin with Cognac Dijon Cream Sauce

1-½ pounds beef tenderloin, preferably center cut, trimmed of all silverskin
½ tsp kosher or sea salt
½ tsp ground black pepper
1 Tbsp olive oil
⅓ cup cognac or brandy
½ cup creme fraiche
1 Tbsp Dijon mustard
2 tsp fresh chopped thyme or tarragon

Allow the beef to rest at room temperature for 45-60 minutes. Tie with kitchen twine at about 1″ intervals to help maintain its shape. Sprinkle all sides generously with salt and pepper, then rub with olive oil. Pre-heat oven to 400 degrees. Cover a rimmed baking sheet with foil, top with a wire rack and set aside. 

Heat a heavy skillet or fry pan over medium-high heat, then sear the beef on all sides, including the ends. Place beef on the wire rack and set the pan aside, discarding any fat (leaving any browned bits), but do not wash it. Place the beef in the oven and roast for 18-20 minutes or longer, until the internal temperature reaches 125 degrees for rare, 130-135 for medium-rare and 140-145 for medium with a digital thermometer. Test at about 18-20 minutes and roast longer if needed.

While the beef is roasting, use the cognac to deglaze the pan you seared the beef in, then heat over medium heat. Allow the cognac to cook down for a minute or two, then whisk in creme fraiche. When smooth, add the Dijon and tarragon. Taste and adjust the flavors with salt and pepper if needed.

When beef has reached desired doneness, remove from oven and allow to rest in a warm place for 15-20 minutes. Remove the twine, slice, and serve with sauce on the side.

Sides: Starches

Easter is a fun time to get a little fancy with starchy sides, if you have enough time. If not, throw a couple of spoonfuls of sour cream in your instant mashed potatoes or pick up some specialty rolls at a bakery and call it a day. 

Fondant Potatoes

4 to 5 medium russet potatoes (about 2 pounds)
4 cloves garlic, minced
4 tablespoons butter, cut into small pieces
1/2 tsp kosher salt
1/2 tsp freshly ground black pepper
1 tsp paprika
1/2 tsp onion powder
2 Tbsp canola oil
4 sprigs fresh thyme plus more for garnish
4 sprigs fresh rosemary plus more for garnish
1 cup chicken or vegetable broth

Peel the potatoes. Trim the ends to be flat, then cut each potato crosswise into equal-thickness slices about 1-1/2 to 2 inches thick. If desired, use a heavy biscuit cutter to trim the slices into equal-diameter rounds. (Save ends and trimmings and use to make mashed potatoes.) Place in a large bowl, cover with cold water, and let sit for 30 minutes.

Preheat the oven to 400 degrees and arrange the rack in the middle of the oven. Drain the potatoes, rinse with cold water, and pat dry with paper towels. Place them in a dry large bowl and season with the kosher salt, black pepper, paprika, and onion powder.

Add two tablespoons of canola oil to a large cast-iron pan (or other heavy oven-safe pan, such as a Dutch oven) over medium-high heat. Once the oil shimmers, add the potatoes cut-side down in a single layer. Cook until golden brown, about 6 to 7 minutes; flip and cook for five more minutes. Add the garlic, butter, four sprigs of thyme, and four sprigs of rosemary to the pan. Stir and cook until the butter is foaming and just starting to brown (about 2 minutes). Add the broth, stir gently, and transfer the pan to the oven. Bake until the potatoes are fork-tender, about 30 to 35 minutes. Before serving, garnish with more fresh thyme and rosemary sprigs, drizzle with the pan juices, and sprinkle parsley on top.

Au Gratin Potatoes

2 Tbsp butter
1/2 medium onion, minced
1 garlic clove, minced
1-1/4 tsp salt
1/2 tsp ground black pepper
3/4 cup chicken stock
1-1/4 cups heavy cream (or light cream, or half and half)
1-1/2 to 1-3/4 pounds (about 5 to 6 medium) russet potatoes, peeled and sliced 1/8 inch thick
2 cups Cheddar, finely shredded
3/4 either Fontina or Provolone cheese, finely shredded
1/4 cup grated Parmesan
1 Tbsp chopped parsley, for garnish

Preheat oven to 425 degrees. Melt the butter and sauté the onion over medium heat until soft and translucent. Add the garlic, salt, and pepper, and cook for about 30 seconds. Add the stock, cream, and potatoes, and bring to a good simmer (not a boil). Cover, reduce heat to medium-low, and simmer gently until the potatoes are nearly tender when pierced with a knife, about 15 to 20 minutes. Taste and adjust seasoning. Gently stir.

Transfer the mixture to a greased 9" x 9″ or equivalent-sized shallow baking dish. Mix together all three kinds of cheese and sprinkle over the top. Bake at 425 for 10-15 minutes or just until the sauce is bubbling and the cheese is melted. Cool a few minutes before serving. Sprinkle with chopped parsley.

Ann Burrell's Wild Mushroom Risotto

Olive oil
2 cloves garlic, smashed with the heel of your hand or the side of a knife
1-1/2 pounds assorted fresh mushrooms (shiitake, oyster, cremini), cleaned and sliced
Kosher salt
1 cup dried porcini mushrooms, soaking in 3 cups hot water
1 onion, chopped (or 1 to 1-1/2 cups frozen diced onion)
2 cups Arborio rice
2 cups dry white wine
6 to 7 cups hot chicken stock (heat on stovetop or in microwave)
2 Tbsp butter
1/2 cup grated Parmigiano
1/2 cup chopped chives (optional; I omit these)
1 to 1-1/2 cups frozen peas (optional)

Coat a large saute pan generously with olive oil and add the smashed garlic cloves. Bring to a medium-high heat. When the garlic cloves have begun to brown and are very aromatic, remove and discard.  Add the fresh mushrooms to the pan and season generously with salt. Saute until soft and pliable. Turn off the heat and set aside. 

Using your hand or a slotted spoon, carefully scoop the porcini mushrooms out of the hot water. Pour the top 2/3 of the mushroom water into another container and reserve. Discard the bottom third. Puree the rehydrated mushrooms with a little of the reserved water to make a smooth paste and set aside. (An immersion blender works well.) 

Coat a large saucepan with olive oil. Add the onions and season generously with salt. Bring the pot to a medium-high heat. Cook the onions, stirring frequently, until very soft and aromatic. Add the rice and stir to coat. Cook 2 to 3 minutes, stirring frequently. Add wine to cover the surface of the rice and stir frequently until it has completely absorbed. Add the reserved mushroom water and then add chicken stock until the liquid has covered the surface of the rice. Stir frequently until the stock has absorbed into the rice. Repeat this process 2 more times. Taste and add salt if needed.

During the third addition of stock, add the reserved sauteed mushrooms, 2 tablespoons of the pureed porcini mushrooms, and the peas (if using). When the stock has absorbed into the rice and the rice is cooked but still "al dente", remove the pot from the heat. Add the butter and cheese and whip until well combined. Serve immediately garnished with chives (if using).

Sides: Vegetables

I like lighter vegetables in the spring, so salads and fresh crunchy vegetables are more appealing than heartier, roasted vegetables on my Easter table. 

Beet Salad

3 fresh beetroots
6 oz baby arugula or baby spinach
⅓ cup walnuts or pecans, toasted
⅓ cup feta cheese, crumbled
3 Tbsp olive oil
1 Tbsp honey or real maple syrup
1 Tbsp balsamic vinegar
1-½ tsp garlic powder
2 tsp Dijon mustard
2 tsp crushed pepper
Salt as needed

Wash the beets well and cut off and discard the roots and stems. Place a trivet in a 6-qt Instant Pot and add the beets and 1 cup water. For 2-1/2 inch diameter beets, pressure cook for 25-30 minutes, followed by quick release. (Here are some other cooking methods if you don't have an Instant Pot.) Allow to cool slightly then peel off skins and cut into bite-sized cubes. 

While the beets are cooking, spread nuts onto a baking tray and toast in a 350-degree oven for 3 to 4 minutes. Watch carefully to avoid burning. 

In a large serving bowl, layer the arugula (or spinach), cubed beets, nuts, and crumbled feta. In a small bowl, combine all the remaining ingredients to make dressing. When ready to serve, drizzle dressing over salad. 

Sweet and Spicy Baby Carrots

1 Tbsp butter 
3 Tbsp honey
¼ tsp salt
¼ tsp pepper
⅛ tsp cayenne pepper (or more if you like heat)
2 lbs. baby carrots (or full-sized carrots cut into 2-inch lengths)
Minced chives (optional, for garnish)

Preheat oven to 425 degrees. Melt the butter in a large ovenproof skillet over medium-high heat. Add the honey, salt, pepper, and cayenne and bring to a boil for 2 minutes. Add the carrots and toss to coat in the sauce. Place the skillet in the oven and roast for 20 minutes. Remove the pan from the oven and cook the carrots for 2 minutes over medium-high heat to caramelize the honey. Once the sauce just barely starts to darken, remove from heat. Sprinkle with minced chives, if desired, and serve.

Haricots Verts

2 cups water
1 pound French green beans, firm and small
3 Tbsp butter
1 shallot, peeled and chopped
¼ tsp salt
¼ tsp freshly ground black pepper
1 tsp lemon juice

Place beans in a large skillet and add 2 cups water. Bring to a boil over medium-high heat and cook until barely tender, but still crisp, about 5 minutes, tossing occasionally. Drain beans and set aside. Melt butter in skillet over medium heat, then add shallots and saute for 1 minute. Add the beans and toss to combine. Season with salt and pepper and a squeeze of fresh lemon juice, adjusting seasonings to taste.

Sweets and Treats

Easter tends to be a sugar-laden holiday, so we opt for lighter or smaller desserts that can "fill in the cracks." Bonus points for individual desserts that are pretty enough to serve as decorations by each place setting. 

Resurrection Rolls

8-ounce package refrigerated crescent roll dough
8 regular-sized marshmallows
5 Tbsp butter, melted
1/4 cup granulated sugar
2 Tbsp cinnamon

Preheat oven to 350 degrees. Line 8 wells in a muffin tin with baking cups or spray the wells with non-stick cooking spray. Unroll crescent dough and divide into 8 triangles at the perforations. In a small bowl, mix together the cinnamon and sugar. Dip a marshmallow into the melted butter then roll in cinnamon sugar and place on the large end of the crescent triangle. Fold the dough over the marshmallow, forming a ball and tightly sealing the edges. Place in prepared tin. Repeat with each marshmallow. Brush the rolls with the remaining melted butter, then sprinkle with the remaining cinnamon sugar. Bake the rolls for 10 to 14 minutes until puffed and lightly golden. Remove from oven and allow to cool slightly before serving.

Pastel Lemon Crinkles

1 cup butter, softened
2 cups sugar
4 eggs
4 Tbsp lemon juice
4 Tbs lemon zest
4 tsp baking powder
4-½ cups flour
Food Coloring: red, blue, yellow
1/2 to 1 cup powdered sugar, for rolling 

Using an electric mixer, cream the butter and sugar until completely combined. Add in eggs and mix until fluffy. Add lemon juice and zest and mix until fully incorporated. Add the baking powder. Mix in the flour, a third at a time. Divide into four portions and use food coloring to tint the cookie dough pink, yellow, blue, and purple (blue plus red). Refrigerate the dough for 2 hours.

Roll dough into balls and roll in powdered sugar. Place on a baking sheet lined with parchment paper, about 2 inches apart. Bake in a 350-degree oven for 8-10 minutes. Allow to cool on baking sheet for several minutes, then transfer to a cooling rack and cool completely. 

No Bake Eclairs

2 (3.4 oz.) boxes vanilla instant pudding
2-3/4 cups milk, divided
1 (8 oz.) container Cool Whip (or 3 c. homemade whipped cream)
1 (14.4 oz) box graham crackers
1/3 cup unsweetened cocoa powder
1 cup sugar
1/2 cup butter
1 tsp. vanilla extract

Combine dry pudding mix and 2-1/2 cups milk; beat until well mixed. Fold in Cool Whip. Place a layer of graham crackers in the bottom of a 9x13" dish. Spread 1/2 of the pudding mixture over the graham crackers. Repeat with another layer of graham crackers and pudding; then top with a final layer of graham crackers. 

In a medium-sized saucepan, bring cocoa, milk, and sugar to a full rolling boil; boil about 1 minute, stirring very frequently. Remove from heat and cool one minute. Add butter and vanilla; stir until butter is melted. Pour chocolate topping over the top layer of graham crackers. Spread evenly to completely cover graham crackers. Cover dessert and refrigerate over night.

Raspberry Almond Shortbread

1 cup butter, softened
2/3 cup granulated sugar 
1/2 tsp almond extract
2 cups plus two tablespoons flour
1/2 cup seedless red raspberry jam

For the glaze:
1 cup powdered sugar
3 to 4 tsp water
1 tsp almond extract 

In a medium bowl, beat butter for about 30 seconds, then scrape down sides of bowl with a rubber spatula. Add the granulated sugar and the ½ teaspoon almond extract and beat for about 30 seconds or just until combined. On low speed, beat in the flour a little at a time, scraping the sides as necessary until dough is formed. Using a spatula or a wooden spoon, stir in any remaining flour that may be in the bottom of the mixing bowl. Do not overwork the dough or let it get too warm. Working quickly, roll dough into 1-inch balls and place on a cookie sheet lined with parchment, leaving 2 inches in between cookies. Use your fingertip or knuckle to press an indentation into the center of each ball. Place the indented cookies in the refrigerator for at least one hour before baking, transferring to a plate if there's not enough room for the baking sheet. Cover with plastic wrap if refrigerating for more than an hour. 

Preheat the oven to 350 degrees. Remove cookies from refrigerator (place back on baking sheet, if needed), then spoon about ¼ teaspoon of jam into each indentation. Bake for 11-13 minutes or until the edges are very light brown. Allow to cool on the cookie sheet for 5 minutes, then transfer to a wire rack to finish cooling. 

While cookies are cooling, combine powdered sugar, 1 teaspoon water and 1 teaspoon almond extract in a medium bowl. Add enough of the remaining water to make a drizzling consistency. When cookies are completely cooled, drizzle cookies with icing (I let it run through the tines of a fork). Let the glaze set completely before moving the cookies.

Happy Easter!!

The Best and Worst Oscar hairstyles, 2026 Edition

Back in 2018, I wrote a blog about the best and worst Oscar hairstyles over the years. Let's see if we've had any worthy additions to the list over the ensuing eight years. Here are the ten best and the ten worst Oscar hairstyles I've seen since that 2018 blog. 

The Best

Lady Gaga, 2019

Gaga's uber-platinum hair was swirled into an elaborate and elegant sculptural updo that combined a French twist at the back with several large sections of hair twisted and intertwined in a graceful arrangement on the top of her head, with just a hint of a dip at one temple. Her hairstylist, Frederic Aspiras, was inspired by both Audrey Hepburn and Gaga's stunning diamond necklace. The hairstyle was both classic enough to work with her Old Hollywood glam gown, but also funky and different enough to suit her offbeat style. 

Salma Hayek, 2020

Hayek wore a one-shouldered, Grecian-inspired ivory gown and her hair was styled to match, with a high, voluminous ponytail and a silver and pearl spray clipped along one side of her head. Hairstylist Jennifer Yepez incorporated hair extensions to add volume to the ballerina bun-inspired ponytail, and Hayek's stylist added the headpiece with matching earrings. She looked like a classical Greek statue come to life. (One Touch of Venus, anyone?)

Amanda Seyfried, 2021

Seyfried's hair was pulled back into a smooth chignon just above the nape of her neck, with a low side part, a hint of height at the crown, and a slight wave at one temple. Hairstylist Renato Campora was inspired by the character for which Seyfried was nominated (Marion Davies in Mank) and the film's setting of the 1930s, describing the style as "precise," "couture," and "vintage."  It worked beautifully with the glamorous, voluminous style of her red Armani gown. 

Lupita Nyong'o, 2022

Nyongo's hair was styled into multiple braids ("locs"), which were then coiled and stacked into a beehive-style updo with a few fishtail braids arching out from the rest. Hairstylist Vernon François described the style as a "sisterlocks updo," inspired by African figures depicted in classical Greek art. The curves of the braids echoed the sequin patterns of her gown, and the height of the updo added to the long, sleek lines of her outfit. Yas, Queen!

Lily James, 2022

James' simple long waves are an example of how red carpet hairstyles don't necessarily need to be elaborate. Her softly-waved, center-parted style had a hint of flip at the bottom, and swung naturally over her shoulders. Hairstylist Danilo Dixon opted for an "effortless, luxurious" style, with volume, shape, and smoothness. 

Halle Bailey, 2023

Bailey elevated her trademark locs by wearing them in a large knotted chignon, with zig-zag parts between the braids. Hairstylist Tinisha Meeks created the elaborate design to combine Bailey's personal style with the "Disney Princess" aesthetic. 

Angela Bassett, 2023

Bassett wore her hair in glamorous, voluminous waves that framed her face and set off the classic elegance of her vivid purple gown. Hairstylist Randy Stodghill used thickening cream and argan oil to create a "timeless look" of voluminous, soft, and shiny curls.  

Halle Berry, 2023

Berry actually based her Oscar look around this hairstyle, beginning with the hair and then choosing a gown to work with it. Her 1940s-inspired bob featured marcelled waves that were allowed to fall into her natural curls at the bottom, with a curl or two falling over one eye, peekaboo style. The asymmetrical deconstructed bob was created by hairstylist Sara Seward. 

Margaret Qualley, 2025

Qualley's hair was pulled sleekly back into multiple ponytails which formed soft loops at the back of her head. Hairstylist Anna Cofone created the "abstract, kooky, and dynamic" updo to reflect Qualley's own style. The combination of her gown and her hairstyle reminded me of Audrey Hepburn's look in the ball scene in My Fair Lady. All she needed was a tiara. 

Odessa A'Zion, 2026

A'Zion's loose, wild, curly style featured a single long curl in the middle of her forehead that gave her a mischievous look ("There was a little girl, and she had a little curl..."). She styled herself with the help of a friend, rather than using a professional stylist, and it's not clear if she also did her own hair, but it's quite likely, considering that her natural hair is so fabulous that after the premiere of I Love LA, there was significant online speculation that she wore a wig. (Spoiler: She did not.)

The Worst

Rachel Weisz, 2019

Weisz wore a long, straight, center-parted style topped with a vintage 1930s diamond tiara. Hairstylist Mark Townsend wanted her hair sleek and flat to set off the stunning piece. Unfortunately, the result looked understyled, as well as thin and a little scraggly. The tiara was also oddly placed; not quite a tiara but not quite a headband, either. 

Kristen Wiig, 2020

Wiig's short pixie was parted on the side, combed across her forehead, and angled upwards partway down her ears. The combination of dark roots (colorist Erick Orellana is responsible, although it's not clear if her current hairstylist Adir Abergel was working with her yet) and visible comb tracks didn't work for me, and the ends of the hair over her ears looked dry and uneven. I feel for celebrities that have to grow out their hair in the public eye, but this could have been styled better. 

Laura Dern, 2020

Dern's 1960s-inspired half up, half down 'do included an overly-heavy draped section on one side, but the casual retro look simply didn't work with her elegant dainty pink and black tasseled gown. Hairstylist Ryan Trygstad tried to put a "California twist" on a "classic retro half-up style," but it just didn't work for me. This gown was begging for a 1930s or 1940s hairstyle, not a 1960s one. 

Halle Berry, 2021

Berry made a rare red carpet misstep with this angled bob and babydoll bangs. I couldn't help but think of the meme of the cat wearing a watermelon helmet. It might have worked with longer wispy bangs, but it was too stiff and structured for the teeny bangs. Fortunately, hairstylist Sara Seward created the edgy bob and bangs with clever styling rather than chopping off Berry's hair, so Berry was able to return to her previous hairstyle without having to grow out the awful bangs. 

Kristen Stewart, 2022

Stewart's punk-inspired sideswept beach-blond waves suited her punk-inspired outfit, but the look felt lopsided and unbalanced to me. Hairstylist Adir Abergel aimed to create a "relaxed, effortless style...inspired by her natural texture and and the undone vibes of some of [his] favorite celebrity styles from the 90’s." A little less volume on the side and a little more definition in the curls would have added a touch of polish that would have felt more red carpet but still edgy.  

Zoë Kravitz, 2022

Kravitz was yet another victim of the baby bangs trend with slicked-down, crooked bangs and a double bun. Although the look was gorgeous from the side, the plastered-down bangs were uneven and not wispy enough to create the desired effect, which hairstylist Nikki Helms intended as a tribute to Audrey Hepburn, 

Florence Pugh, 2023

Pugh's thin, blond, faux bangs were created by combing down the ends of her high ponytail, which could have been fine, except that they were noticeably crooked. Hairstylist Peter Lux created the "punk-inspired" look, which didn't seem to fit with her funky but still glamorous gown. 

Da'Vine Joy Randolph, 2024

Randolph's side-parted blond waves were great in concept, but the execution was somewhat lacking. The hair at her hairline was overly gelled, looking stiff and showing visible comb tracks, the ends of her hair looked dry and frizzy instead of smooth and sleek, and the waves themselves were nearly straight around her face. Hairstylist Tai Simon stated, "“Fun, flirty, and glamour in essence of May [sic] West was the inspo.” I don't think Mae West would have been flattered. 

Whoopi Goldberg, 2025

Goldberg wore a striking "liquid" Christian Siriano gown, but her hairstyle didn't match the level of glamour. She wore her trademark braids, but had them pulled back in a way that formed two lumps directly on top of her head, as if she were wearing a tiny hair bow. A sleeker, smoother style would have been more in keeping with the style of the gown, in my opinion. I was unable to find a hairstylist credit for this look.  

Lisa Rinna, 2026

Rinna wore this hairstyle to the Oscars after-party. It looked very thick and ragged, and the way it was pushed back from her face and unevenly spiky on top made it look like a cheap costume wig. Her hairstylist was Justine Marjan. Fun fact: The Christian Cowan dress Rinna was wearing was constructed of 11 pounds of hair extensions made from real human hair. The hair dress was better looking than the hair hair. 

2026 Oscars Red Carpet Review: the Designers

Last night was the 2026 Academy Awards ceremony, and I watched the red carpet arrivals with great anticipation! As much as I love the films, and the people who create them, Oscar night is, for me, mainly a fashion parade. And because of that, I'd like to focus on the designers who created not the films, but the red carpet looks at the awards ceremony. So here are my comments on what we saw on the red carpet last night, sorted by design house or designer, along with some background on each designer. 

[Note: I kind of fell down the rabbit hole on the designer histories and probably included more information than most of you care to read. Feel free to skip past that part if you're not interested!]

Bibhu Mohapatra

Mohapatra learned to sew as a child in India, using his mother's sewing machine and vintage textiles like old saris. In 1996, he moved to the U.S. and earned a master's degree from Utah State University and in 1999 he enrolled in the Fashion Institute of Technology in New York, working as a designer of ready-to-wear fashions for J. Mendel for a decade before establishing his own label. 

Mohapatra is known for balancing refined elegance, structured evening wear, and intricate craftsmanship, often creating a "soft strength" through luxurious fabrics, vibrant colors, and meticulous tailoring, aimed at creating feminine, empowered silhouettes.

His famous clients include Michelle Obama, Ginnifer Goodwin, Allison Janney, and Gwyneth Paltrow. 

Tamron Hall wore an ivory Bibhu Mohapatra column with stylized bodice edging that formed a short cape at the back, and metallic silver swaths with multicolored crystal beading across the side of the skirt, described as "stone faille 'angel wing' detailing and intricate Odisha ikat embroidery." It was striking and beautifully different. 

Bronx and Banco

Russian-born but Australian-raised designer Natalie De'Banco opened a boutique at Bondi Beach in 2009 while still a student at Enmore Design School in Sydney, and launched her label in 2009. 

Bronx and Banco is known for sophisticated, sexy, and playful designs that feature bold embellishments and daring silhouettes, and an apologetically feminine point of view.

Beyoncé, Doja Cat, Jennifer Lopez, and Miley Cyrus have all worn designs by Bronx and Banco. 

Heidi Klum wore a pearl-encrusted strapless Bronx and Banco column with a vaguely Art Deco feel. The semi-sheer skirt added a hint of sexiness and movement to the dress, which Klum accessorized with a multi-stranded pearl choker. A fabulous - and unusually restrained - look for her. 

Carolina Herrera

Herrera, a Venezuelan socialite, grew up in the world of fashion. She worked for Pucci and was mentored by Diana Vreeland, Editor-in-Chief of Vogue, who encouraged her to design a clothing line, which she did in 1980, becoming known for her dramatic style. She ran the company until 2018, when she named Wes Gordon as the new creative director. 

Herrera's design style is defined by timeless elegance, sophisticated femininity, and refined minimalism; casual glamour with a modern twist. 

Herrera has designed gowns for First Ladies including Jacqueline Kennedy, Laura Bush, and Michelle Obama; and for celebrities including Renee Zellweger, Rachel Brosnahan, Allison Williams, and Helen Mirren.

Ji-young Yoo wore a two-toned blue Carolina Herrera taffeta ballgown with a navy blue full skirt (with pockets!) and a dusty blue strapless bodice with a plunging, ruched front, accessorized with a wide black fabric belt that trailed down the front of the skirt. She accessorized with a striking diamond pendant necklace. It was a beautiful dress, if a bit boring. 

Celia Kritharioti

Greek designer Kritharioti leads the Celia Kritharioti House of Couture, established in 1906. She presented her first show at Paris Fashion Week in 2017. 

She describes her design style is "the ideal combination of femininity, finesse, and elegance."

Her red carpet designs have been worn by celebrities including Beyoncé, Kate Beckinsale, Halle Berry, Kerry Washington, Zendaya, and Gabrielle Union. 

Keltie Knight wore a sunshine yellow Kritharioti design with a very Grecian feel. The sleeveless gown featured draping at the hips, a long train, an angled rhinestone belt, and crystal trim along the bodice. The lines of the gown were simple but dramatic, but I didn't love the color on her. More of a chartreuse or even an apple green might have worked better with her coloring. But the gown itself was absolutely gorgeous. 

Chanel

French designer Gabrielle "Coco" Chanel began as a milliner (hat designer) in 1909, and in 1913 she branched out into ready-to-wear, sporty, casual chic designs, and she released her first haute couture collection in 1915. The House closed during World War II, and Chanel was accused of collaborating with the Nazis and exiled to Switzerland. She returned to France in 1953 and collaborated with jeweler Robert Goossens to design long pearl necklaces to soften and complement her somewhat severe Chanel Suit. At Chanel's death in 1971, leadership of the company went to Yvonne Dudel, Jean Cazaubon and Philippe Guibourgé, and in 1974 Alain Wertheimer, part of the family that were original backers of the design house, took over. 

Chanel's style has always been elegant simplicity, combining luxurious fabrics and feminine details with traditionally masculine tailoring. Coco Chanel was known for her advice, "Before you leave the house, look in the mirror and take one thing off."

Chanel's current celebrity brand ambassadors include Margot Robbie, Penélope Cruz, and Nicole Kidman, and other past ambassadors and "friends of the house" include Kristen Stewart, Lily-Rose Depp, Margaret Qualley, Tilda Swinton, and Lupita Nyong'o.

Teyana Taylor wore a feather-embellished black-and-white gown with narrow straps, a semi-sheer center panel, and a long train, and she accessorized with a diamond pendant necklace. I loved the simplicity of the silhouette and the patterning of the white feather and crystal embellishments, but I found the sheer panel unnecessary and slightly distracting. But on the whole, a really nice look for her. 

Nicole Kidman wore a blush pink strapless column with a feathered peplum and slightly flared feathered hem, with silver spangles on the bodice. The color is a bit pale for her, but the silver detailing along the top creates a visual demarcation that make it work. Another good combination of a relatively simple silhouette with a few dramatic touches that create visual interest without overdoing it. 

Jessie Buckley wore a soft pink chiffon gown with a softly draped, full skirt with a long train topped with a crushed red satin wrap bodice. Although I am not a fan of the combination of red and pink, the silhouette of the dress is absolutely stunning and the colors were lovely on her. This is a really terrific and flattering look.  

Maya Rudolph frequently opts for modest, even matronly styles on the red carpet, but she hit it out of the park with this tiered black sleeveless Chanel design. It featured a capelet that covered her arms slightly, a wide round neck, and long tiers of fringe with a tiny bit of sparkle that moved beautifully a created a lovely and flattering silhouette. This is one of the best looks I've seen on her recently. 

Christian Dior

French designer Dior worked for designers Robert Piguet and Lucien Lelong during World War II before establishing his own fashion house with the "New Look" post-war style, which celebrated femininity and featured rounded shoulders, a cinched waist, and a very full skirt. Following Dior's death in 1957, leadership of the brand passed to 21-year-old Yves Saint Laurent until 1960, then to Marc Bohan, who focused on "wearable elegance." In 1989, Italian-born designer Gianfranco Ferré took over, leaning toward designs that were "refined, sober, and strict." In 1997, British designer John Galliano took over the couture arm, due to his style being very similar to Dior's, focusing on a mixture of romanticism, feminism, and modernity. In 2012, Belgian designer Raf Simons took over as artistic director, and in 2025, Jonathan Anderson became Dior’s new Creative Director of women's, men's and haute couture collections. 

Dior's design style under Anderson is described as quirky, off-kilter surrealism that features sculptural shapes, gender fluidity, and "high fashion wit," and often reimagines historical fashions with a modern, edgy perspective. 

Dior's current and past brand ambassadors and "house friends" include Charlize Theron, Natalie Portman, Jennifer Lawrence, Anya Taylor-Joy, and Jenna Ortega.

Amy Madigan often wears suits on the red carpet, often with interesting or unusual accessories. For the Oscars, she paired simple black pants with a black boxy jacket covered with black, champagne, and copper colored silk feathers. I didn't love the jacket when I first saw it from far away, but once I noticed more details, like the curved front panels, slightly tapered waist, and the deliberate pattern of the lighter-colored feathers. Overall, a very nice look. 

Ejae wore a custom Dior design by Jonathan Anderson. Her metallic gold strapless gown featured a wrapped bodice ending in a short trailing scarf and a longer side train, both trimmed with fringe, a deep front slit, and small black accents at the top of the bodice and on one hip. The silhouette was simple with interesting details and impeccable tailoring. An absolute win.  

Mikey Madison wore a dark red satin sheath with a modified draped sweetheart bodice with tiny dropped shoulder straps and a wrapped skirt with a high slit and a short train. The dress was accented with tiny fabric leaves all over and  a group of fabric flowers at one side of the bust. She accessorized with a short diamond necklace that was lovely, but a slightly longer length might have filled the space above the bodice better and looked more proportionate. But on the whole, a nice look. 

Fashion icon Anna Wintour wore a black-and-white Dior ensemble, with a white column skirt covered with white tulle leaves and a line of black-and-white fabric flowers curving from waist to hem, topped with a black lace jacket with an asymmetrical black puffy drape at one hip, over a round-necked satin blouse, accessorized with a heavy diamond pendant and, of course, her signature dark glasses and short sleek bob and heavy bangs. It's a great look, and even if it weren't I wouldn't say so, because she's Anna Wintour and last night the devil was wearing Dior. 

Rose Byrne wore one of my favorite looks of the night, in a strapless black Dior gown embellished with white and coral 3-dimensional flowers across the bodice, on one hip, and around the hem. The bodice of the dress came to subtle, smooth points that curved slightly away from the body, and the dress was fitted to mid-hip before flaring out into a kind of ballgown silhouette with a short side train. She accessorized with a gold necklace that was shaped like a calla lily blossom on a dainty stem. This look was definitely my favorite of the night, and one I would absolutely wear myself. 

Priyanka Jonas wore a simple white strapless Dior gown with a sweetheart neckline bodice that was wrapped and fitted across the hips, a thigh-high slit, and white feather trim with tiny flecks of black along the slit and around the short train. The gown itself was simple, but she paired it with a stunning diamond and sapphire necklace that made the whole look pop. (Although the black pumps were all wrong.) This is a perfect example of how styling can make a gown work. 

Mia Goth (who I thought for a moment was Jenna Ortega, who also would have rocked this look) wore an ivory lace gown with a surplice bodice with tiny straps and a group of lace fabric flowers on one shoulder, and an open-fronted skirt with ragged-styled tiers. The white lace made it romantic; the raggedness and flared front slit made it a little edgy, and it totally worked for her - and me. 

Christian Siriano

American designer Christian Siriano studied fashion design in high school at the Baltimore School for the Arts, then graduated from the American InterContinental University in London, where he interned at both Vivienne Westwood and Alexander McQueen. He also interned at Marc Jacobs before appearing on Project Runway, winning the 2007 season, and he launched the Christian Siriano Collection in 2008.

Siriano is known for his fantasy evening gowns, cocktail dresses, and tailored sportswear, and a design style that has been described as whimsical, romantic, and "old-school" glamour, focusing on dramatic silhouettes, bold colors, and intricate, sculptural details that flatter a variety of body types.

His red carpet designs have been worn by Jennifer Coolidge, Janelle Monae, Jean Smart, Viola Davis, Christina Hendricks, Rihanna, and Halle Berry.  

Alicia Silverstone wore a strapless, two-toned Siriano gown with a softly draped ivory chiffon skirt and a black velvet bodice with a pointed sweetheart neckline, accessorized with black opera gloves. It was a beautiful gown, but the angles of the inverted v-shaped waist seam, which angled from just below the natural waist in the front to just above the widest part of the hip at the side, made her hips look disproportionately wide and was not the most flattering. I suspect that bringing the center of that seam up a few inches to narrow the "v" would have vastly improved the look. It's not a terrible look, it just could have been more flattering than it was.  

Marsai Martin wore a rich chocolate brown satin gown with a corset-style bodice and a flared skirt with a long train. I loved the way the boning of the corset and the seaming over the hips created a starburst pattern, and I loved her heavy brown and white choker. A really great look. 

Elie Saab

Lebanese designer Saab learned to sew as a child, designing and creating fashions for his sisters to model. In 1981 he moved to Paris to study fashion, but soon returned to Beirut and by 1982, at age 18, he had begun his own company with 15 employees, specializing in bridal wear. In 1997, he had his first show outside of Lebanon, in Rome. In 1998, he began a ready-to-wear line in Milan, and also held a fashion show in Monaco. He showed his first haute couture collection in Paris in 2003 and his first ready-to-wear line in 2006.  

Saab's design aesthetic is defined by opulent, ultra-feminine, and romantic haute couture that blends Middle Eastern glamour with modern Western elegance, focusing on flattering the female silhouette through intricate embroidery, delicate beadwork, luxurious fabrics like silk and lace, and sweeping, dramatic gowns.

Celebrities favoring Elie Saab designs include Halle Berry, Kate Winslet, the Duchess of Cambridge (now Catherine, Princess of Wales), Sandra Bullock, Catherine Zeta-Jones, Angelina Jolie, Celine Dion, and Helen Mirren. 

Kristen Wiig wore a black Elie Saab gown with a beaded and draped sleeveless bodice and a crystal-embellished full skirt. I liked the contrast of the two different types of beading, but I wish the gown had been fitted at the waist instead of blousing. But this is another look that I liked more and more the more I looked at it, and the more closely I looked. 

Giorgio Armani

Italian designer Giorgio Armani became a window dresser and clerk at a high-end department store after a stint in the military, and began to design menswear as a freelancer. In 1973, he and Sergio Galeotti opened a design office together while Armani also designed for other designers as a freelancer. 1975, the firm became known as Giorgio Armani and launched ready-to-wear lines for men and women. In 1979 Armani began producing for the United States. In 1991 the brand launched a line of casual clothing. In 2007, Armani made news for banning models with a BMI under 18 in response to the death of model Ana Carolina Reston due to anorexia. In 2009, Armani was the first haute couture designer to broadcast his collection on the Internet. Over the course of his career, he designed costumes for over 100 films, most notably American Gigolo. Giorgio Armani died in September 2025. 

Armani's design legacy was defined by his impact on the fashion industry, mainly reinventing suit wear for women, and creating suits that were more comfortable and loose-fitting. 

Armani's designs have been worn on the red carpet by Viola Davis, Halle Berry, Anna Sawai, Gemma Chan, Julia Roberts, and Kristen Bell.  

Kate Hudson wore my second-favorite look of the night: a sage green Armani column encrusted with crystal embroidery, with a flared, structural peplum and a deeply-plunging sweetheart neckline. I loved the smoothness of the construction, which looked tailored and comfortable rather than stiff, and her 15-carat (!!) green diamond necklace and softly waved, side-swept hair provided the perfect complement. (Goldie Hawn on her arm was also a lovely accessory. So sweet!)

Gwyneth Paltrow wore a sleek white satin strapless Armani column with open sides and a slight curved at the corners of the hem. From the front, I thought it was stunning in its simplicity. and I loved her sideswept long wavy hair and her diamond necklace. But from the side, it looked inappropriately naked and was not flattering even on her gorgeous figure. Close it on the side down to the mid-hip and I'd have loved it, but as is this was a major fail for me. 
 

Kerry Condon wore a strapless black velvet Armani sheath with a plunging neckline and a bodice edged in wide crystal beading that I did not love at first; I found it somewhat boring. But when I took a close look (lower photo), I realized that the bodice was actually shaped like a tailcoat, and had delicate silver embroidery all over it. Those minor details added so much visual interest and brought the whole look to life. This is a great look, you just have to really look.

Givenchy

Founded in 1952 by French designer Hubert de Givenchy, the original collection featured floaty skirts and raw cotton blouses. Two years later, he introduced the shirt dress, and three years later, the sack dress. On his retirement in 1955, he was succeeded by a number of creative directors, including John Galliano, Alexander McQueen, Ricardo Tisci, and current director Sarah Burton. 

Givenchy's design style is often described as "aristocratic chic," a blend of French elegance, minimalist aesthetic, and effortless sophistication.

Givenchy's most famous clients include Audrey Hepburn (who wore his designs both on- and off-screen), Lauren Bacall, Elizabeth Taylor, Jacqueline Kennedy-Onassis, Beyonce, Cate Blanchett, Emma Stone, Lady Gaga, and Ariana Grande. 

Elle Fanning wore a strapless white Givenchy ballgown which featured a bodice that was fitted to the hip and patterned with metallic silver beading, cascading into a full tulle skirt with matching silver beading at the hem and a short train. She accessorized with a sleek chignon and an antique diamond necklace. Utter perfection. 

Gucci

Founded in 1921 by Italian designed Guccio Gucci, the company was a family operation involving Gucci's wife and children and selling leather goods. Due to a leather shortage in the 1930s, Gucci experimented with other materials, including raffia, wicker, and jute, and branching out into making handbags, gloves, belts, and other accessories. A family feud that lasted from the 1970s into the 1990s resulted in financial turmoil (and a murder). In 1989 Dawn Mello became the executive vice president and chief designer and immediately reduced the number of stores to increase the brand's exclusivity. Tom Ford was hired to lead the women's ready-to-wear line and he became the creative director in 1994. Ford and Mello were influenced by 1970s Gucci designs and began a "hot-bod hedonism" that introduced looks with provocative cut-outs, and an ad campaign featuring the Gucci logo shaved into a model's pubic hair. In 2006, Frida Gianni took over as creative director and toned down Ford's "porno chic" to more of a sexy and sensual look that sometimes incorporated androgynous, Bohemian styles. In 2015, Alessandro Michele took over, and aimed to create a "sophisticated, intellectual and androgynous feel". In 2023, the reins were handed over to Sabato de Sarno with the intent to "reestablish Gucci's edge" and "restore its brand equity". Sales dropped and in 2025  Demna Gvasalia took over as creative director. 

Gucci's design style can be described as luxurious and opulent, with a bold, eclectic, and often maximalist aesthetic. It features romanticism, vibrant patterns, gender-fluid designs, and a "more is more" philosophy. 

Famous "friends of Gucci" include Kim Kardashian, Viola Davis, Jessica Alba, Halle Berry, Salma Hayek, Hillary Swank, and Blake Lively. 

Bella Thorne wore a form-fitting black Gucci gown with a cami-style bodice under a sheer black long-sleeved, boat-neck overlay with black marabou feather trim at the wrists and an opaque black skirt that flared slightly at the knee. The simplicity of the style worked well with the exaggerated feather details, and the gown was a delicious mix of covered and sheer. It was not the most memorable look, but it was sexy and different.   

Demi Moore's custom Gucci strapless gown featured a green-and-black feathered sheath that flared at the knee into a short train, with a strapless bodice that was an explosion of long black feathers that framed her face. While I found the bodice feathers a little out of proportion, the overall look was avant garde without being bizarre, and given the near-complete lack of outre looks on the red carpet, it was definitely one of the more unusual and interesting looks of the night, and it grew on me the more I looked at it. It definitely belongs on the Best-Dressed list. 

Bruna Marquezine wore a strapless silver knit Gucci column which fit her like a glove. The fabric itself (as well as her incredible figure) was the star, and the only accessories needed were pointy-toed shiny metallic pumps and a simple diamond necklace and earrings. 

Loewe

The company was founded in Spain in 1846 and by the early 1900s was designing for luminaries including Queen Victoria Eugenie. In the 1980s, Giorgio Armani was designing for Loewe, and in 1997, after being acquired by LVMH (Louis Vuitton Moet Hennessey), Narciso Rodriguez became the creative director and the brand presented their first Paris runway collection. From 2000-2013, under creative directors José Enrique Oña Selfa and Stuart Vevers, the company scaled back their fashion design to focus on handbags and leather goods. In 2013, Jonathan Anderson took over as creative director and presented the company's first ready-to-wear collection the following year, and also moved the headquarters from Madrid to Paris. The company began a series of high-profile collaborations, including designing custom performance looks for artists such as Beyonce, and brought the label back into prominence. Anderson moved to Dior in 2025 and Jack McCollough and Lazaro Hernandez became the new creative directors. 

Loewe's design style can be described as understated eccentricity, combining minimalist foundations with playful, surrealist, and unconventional shapes. Key elements include masterful leather work, sculptural forms, and whimsical, artistic references. 

Famous clients and brand ambassadors include Nicole Kidman, Demi Moore, Ariana Grande, Sabrina Carpenter, Tracee Ellis Ross, and Maggie Smith. 

Jayme Lawson's electric blue fringed Loewe column gown featured a halter neckline and a flared peplum with a front point. The silhouette is curved but subtly so, and the pointed front of the peplum helps to minimize its volume. The color and texture of the fabric is stunning (fun fact: the fringe was 3-d printed!), and although I don't love the general style, I do like it. 

Inga Ibsdotter Lilleaas wore a strapless black Loewe column with an asymmetrical frilled white drape at the top. While it wasn't horrible, it felt bulky and lopsided, especially when seen from the side. It also reminded me a little too much of those toys kids make by shoving squares of fabric into a styrofoam shape. 

Louis Vuitton

One of the oldest fashion houses existing today, Vuitton was founded in 1854 by French designer Louis Vuitton. They designed luggage, including a stackable, flat-topped canvas trunk. When Louis died in 1892, his son Georges took over and brought the company, specializing in travel goods, to world-wide attention at the 1893 Chicago World's Fair. In 1977, Henry Racamier, husband of Louis' great-granddaughter Odile, took over the company and in two years, brought the annual revenue from 10 million Francs to 70 million Francs. In 1987, Vuitton merged with Moet et Chandon and Hennesey to form LVMH, a luxury good conglomerate. In 1997, designer Marc Jacobs was named artistic director and soon released ready-to-wear lines of both men's and women's clothing. In 2013, Nicolas Ghesquière became artistic director of women's clothing. 

The Vuitton aesthetic is defined by a fusion of its luxury travel heritage, structured silhouettes, and iconic branding, primarily featuring the monogram and Damier checkerboard patterns. 

Louis Vuitton brand ambassadors (current and former) include Zendaya, Jennifer Connelly, Ana de Armas, Cate Blanchett, and Chloë Grace Moretz.  

Alana Haim's criss-cross Vuitton dress was a good concept, but poorly executed. The front of the dress tended to fall away from her body as she moved, and the angle of the side opens over her hips was unflattering. The overall silhouette was fine, but the front panel flattened her figure and the overall impression was of an old-fashioned apron being worn backwards. It was a mess. 

Ava Duvernay's custom midnight blue Louis Vuitton gown featured an exaggerated portrait collar, an empire waistline, and a slightly flared skirt with a short train. The simplicity of the silhouette, with just a single exaggerated feature, accessorized with a simple diamond necklace with a large center sapphire, drew attention to her gorgeous face. This was a terrific and memorable look. 

Chase Infiniti's lilac chiffon Vuitton gown featured a slightly draped necklace and a broad wedge-shaped insert of cascading narrow ruffles that formed a short train. I would have liked a slightly more saturated color on her, but every other detail of the gown was terrific. The busy-ness of the small ruffles was offset by the simplicity of the rest of the gown, her diamond choker, and her loose braided hairstyle. Very nice.  

Another dress that was great except for the color was Emma Stone's metallic off-white Vuitton clinging gown, with a low round neckline and cap sleeves. I loved the shape of the sleeves and how perfectly the dress clung to her figure, but I would have preferred a hint of color, such as a blush peach. 

Wunmi Mosaku wore a spangled jade green cold-shoulder Vuitton gown with an asymmetrical neckline and long sleeves. I loved everything about the gown except the heavy, thick look of the fabric, which seemed very noticeable in the shoulder strap at the bottom of the shoulder cut-outs. But the overall lines were lovely and the color was perfect for her. 

Another gown which looked very different from the front and from the side, Renate Reinsve wore a strapless red Vuitton gown which pulled aside at the hip to form a long side train in lieu of a skirt, which was fine if somewhat boring (other than the spectacular color), but the problem was that from the side, it looked like she was wearing a bathing suit, or possibly coordinating granny panties. Whatever it was, it was neither pretty nor flattering. She deserved better. 

Miss Sohee

South Korean designer Sohee Park studied fashion in London and interned with Marc Jacobs and Molly Goddard. She founded her label in 2020 but was unable to launch her debut collection in person due to the COVID-19 pandemic. Instead, she release photos on Instagram, which went viral. She made her fashion week debut in Milan in 2022 and her Paris fashion week debut in 2023. 

Sohee's style features intricate embroidery, voluminous shapes, and a blend of romantic femininity with dramatic, artistic embellishments. 

Miss Sohee designs have been worn by Miley Cyrus, Cardi B, Ariana Grande, Priyanka Chopra, Gemma Chan, Camila Cabello, and Christina Aguilera.

Arden Cho wore a strapless black lace trumpet gown with an apple green cape featuring gathered shoulder derails and long rectangular embroidered panels forming side trains. The embroidery is a lovely nod to both Cho's and Sohee's Korean heritage, and the sheer black lace of the gown creates a fun peek-a-boo effect. 

Charithra Chandran wore a strapless emerald green satin Miss Sohee gown with a modified sweetheart neckline, and A-line skirt, and a flared train topped with an oversized rosette. While this gown might have worked, it was poorly fitted across the front, which created deep horizontal creases across the hip. Also, the rosette was a hair too large, and probably could have been omitted altogether to keep the gown from looking back-heavy. A good design, but it needed a few tweaks in the execution.

  

MONSE Maison

MONSE was co-founded in 2015 by Korean-born designer Laura Kim and Dominican-born designer Fernando Garcia, who met while both were working for Oscar de la Renta. In 2016, both were named creative directors at Oscar de la Renta, while they continued designing for their own label. Their designs are aimed at women who want a mixture of structure and modern edge,

MONSE is recognized for its deconstructed tailoring, asymmetrical silhouettes, and "cool girl" aesthetic, and they embrace sustainability by repurposing fabrics. 

Celebrities who wear MONSE designs include Sarah Jessica Parker (an early supporter who set the tone for the brand in many ways), Selena Gomez, Zoe Saldana, Tessa Thompson, Sydney Sweeney, and Taylor Swift. 

Ginnifer Goodwin wore a sheer black lace strapless MONSE gown with a short train and a large bow detail across the top of the bodice. I liked the diagonal lines across the body of the dress which fade into floral lace from the knees down, and the bow on the bodice was structured enough to not feel floppy or out of proportion. I also liked her chunky collar necklace, but I would have loved for a little more volume in her hair, given the size of the bodice - perhaps a funky spiked look. But still a great dress and a great look. 

Prada

Founded in Italy in 1913 by brothers Mario and Martino Prada, the company originally sold imported leather goods, jewelry, and other luxury items. Mario's daughter Luisa succeeded her father in running the company, and Luisa's daughter, Miuccia Prada, took over leadership in 1978. The company transitioned away from selling imported goods, adding nylon backpacks, shoes, and handbags to their collection, and in 1988 they launched a women's ready-to-wear collection featuring clean lines, opulent fabrics, and basic colors. By the 1990s they were firmly entrenched as a luxury brand, and in 1992, they spun off the label Miu Miu (Miuccia's nickname) catering to younger consumers and celebrities. In 2020, Belgian designer Raf Simons was named co-creative director. 

Prada's current design aesthetic is characterized by understated luxury and an intellectual, "ugly-chic" aesthetic that merges minimalism with contradiction, often pairing simple, clean lines with unconventional fabrics and bold, unexpected details. 

Celebrities who often wear Prada on the red carpet include Michelle Williams, Kate Hudson, Amanda Seyfried, Lupita Nyong'o, and Maya Hawke. 

Felicity Jones wore a pale yellow sleeveless Prada apron dress with a wide belt and a short tulle overlay with a train. Although the dress had great lines and was lovely in photos, the front panel tended to gap as she moved due to being open at the sides. This is the style of dress which requires perfect posture at all times, so although I thought it was pretty, it didn't work on the red carpet.  

Saint Laurent

As early as his teens, Yves Saint Laurent had begun designing clothes for his mother and sisters. In 1953, at age 17, he won a contest for young fashion designers and soon enrolled at the Chambre Syndicale de la Haute Couture in Paris. In 1955, he showed some of his design sketches to the editor of Vogue in Paris, who noted the similarity of his style to Christian Dior and sent him to Dior, who hired him immediately. In 1957, Dior died suddenly and Saint Laurent, at age 21, became the head designer for House of Dior. His next few years brought varying success, and the unconventional look of his 1960 collection resulted in his firing. After a brief stint in the army, he started his own fashion house, Yves Saint Laurent, in 1962. He began or influenced trends throughout the 1960s, including the beatnik look, smock tops, platform shoes, safari jackets, and geometric shift dresses. In the 1970s, he was called the most influential designer in the world, designing comfortable and wearable clothes that adapted to women's changing needs. Emphasizing his ready-to-wear designs, he even considered discontinuing his haute couture line, eventually deciding to continue it. In the late 1970s, Saint Laurent is credited with the big-shouldered style with narrow skirts and pants that became the hallmark of 1980s fashion, but he was criticized for losing his creativity after keeping with that silhouette throughout the decade. After the 1987 stock market crash, he turned over his ready-to-wear designs to his assistants, but he continued to design the couture collection until 2002. 

Saint Laurent’s design style is defined by empowering, gender-fluid fashion that blends elegance with comfort, often featuring sharp tailoring, bold artistic references, and a rebellious spirit.

Celebrities known for wearing Saint Laurent include Catherine Deneuve, Michelle Pfeiffer, Kate Moss, Zoë Kravitz, Demi Moore, Margot Robbie, and Dakota Johnson. 

 

Zoe Saldana wore a black silk satin slip dress with a sheer lace corset bodice with a scalloped sweetheart neckline and a straight skirt with a small train. She wore a long diamond and ruby necklace that also trailed long silver chains at the back, and she wore her hair in a low chignon with a single long tendril at one side. She looked elegant yet relaxed. Not one of the most memorable looks of the evening, but a lovely and glamorous one, nonetheless. 

 

Thom Browne

American designer Thom Browne worked in the film industry in the 1990s before beginning to design men's suits. In 1997, he worked as a salesman for Armani before being recruited to Club Marco (then owned by Polo Ralph Lauren) and leading their design department. In 2001, he launched his own brand designing men's suits, which he reimagined, shrinking the proportions and cutting the fit closer to the body, and in his signature gray. In 2011, he launched a women's line, which in the next 10 years grew to comprise nearly half the company's revenue. In 2023, the label debuted its first couture collection at Paris Fashion Week. 

Browne's aesthetic can be described as a modern, “shrunken” take on tailoring, characterized by cropped trousers and sleeves, high-quality gray wool suits, and a precise, uniform-like silhouette, and often incorporating preppy, American, and avant-garde elements. 

Thom Browne's designs have been worn by Doechii, Janelle Monae, Zendaya, Amy Madigan, Teyana Taylor, and Sabrina Carpenter. 

Audrey Nuna wore a custom Thom Browne ballgown with a long-sleeved, high-necked, metallic gold bodice and a multi-tiered full black skirt. The loved the line of tiny buttons on the bodice and the way the gold sequins trailed away at the waist and wrists. Nuna's looks are frequently too over-the-top for me, but I loved this look for her. 

Valentino

Valentino Garavani apprenticed in fashion design in his native Italy before moving to Paris to study at Beaux-Arts de Paris and the École de la Chambre Syndicale. He worked in Paris and Rome before founding his own fashion house in Rome in 1960. With the financial support of his father and a business associate, the premises were noticeably grand, and he was able to bring in models from Paris for his debut show. He became known for his vivid red dresses, in a shade that was soon called "Rosso Valentino." His extravagant spending became a problem, and when one of his backers withdrew his support, the company was near bankruptcy. Fortunately, in 1961, Elizabeth Taylor, who was filming in Rome, wore one of his designs to the premiere of Spartacus, and in 1964, Jacqueline Kennedy chose six of his black and white haute couture suits, which she wore during the year following her husband's assassination. Valentino later designed her wedding gown for her marriage to Aristotle Onassis. His all-white collection of 1968 became, according to Vogue, "the talk of Europe." Through the 1970s, Valentino designed both couture and ready-to-wear styles for women, with an emphasis on pants and 1940s-inspired looks, and later in the decade, ruffles and peasant styles. At the end of the decade, he led the trend of 1940s-inspired oversized shoulder pads that became the hallmark of 1980s fashion, as well as hats and cinch belts, adding miniskirts as the decade progressed. In 2007, Valentino stepped down as creative director, and Maria Grazia Chiuri and Pierpaolo Piccioli were nominated as co-creative directors. In 2016, Chiuri stepped down and in 2024 Alessandro Michele took over from Piccioli. 

Valentino's design style is sometimes referred to as "glitterati chic," characterized by timeless, opulent, and ultra-feminine elegance, blending Italian romanticism with precise Parisian haute couture techniques, often featuring intricate embroidery and luxurious fabrics.

Notable celebrities dressed by Valentino include Elizabeth Taylor, Jacqueline Kennedy, Joan Collins, Zendaya, Florence Pugh, and Jennifer Lopez. 

Ann Hathaway's strapless black floral-patterned Valentino trumpet gown was similar to the Dior gown worn by Rose Byrne. Hathaway's had a longer train and an overall floral pattern rather than localized embroidery, and Hathaway accessorized with black opera gloves and a shorter, heavier diamond necklace for a more dramatic effect. I loved both looks. 

Odessa A'Zion wore a black velvet Valentino robe with metallic silver embroidery, a straight skirt, long flared sleeves, and an open front. Although the fabric was gorgeous, the baggy, loose fit and bare front didn't work for me. If the silhouette had been a hair more fitted at the waist (or, alternatively, cascaded  smoothly to the floor), and she had wore a silver spangled bandeau underneath, I'd have loved it. 

Sigourney Weaver wore a gold lace Valentino gown with long bloused semi-sheer sleeves and a high round neck, with the sleeves and the cuffs trimmed with green. The fabric was gorgeous, with just the right amount of texture and sparkle, and the green at the neckline was a nice pop of color, but having the very strongly contrasting green only on the collar and cuffs made it look unbalanced and out of place. I'd have loved a slightly lower neckline and perhaps a green belt, both to tie in the color and to bring in the waist visually. The waist seam made her figure look thick in the middle, and either a belt or a silhouette that fell straight to the floor without a waist seam would have been more flattering. But her hair and makeup was flawless, and she still looked beautiful. 

Vera Wang

Wang earned a degree in art history from Sarah Lawrence College, and in 1970 was hired by Vogue as their youngest editor ever. In 1987 she left and worked at Ralph Lauren for two years before leaving to launch her own bridal line, designing wedding gowns for celebrities including Chelsea Clinton, Victoria Beckham, Sarah Michelle Gellar, Kim Kardashian, and Mariah Carey. A former figure skater and Olympic hopeful, Wang also designed costumes for Nancy Kerrigan and Michelle Kwan. She eventually expanded into evening wear and in 2006, launched an inexpensive ready-to-wear line carried by Kohl's called Simply Vera, and in 2011 paired with David's Bridal to create the "White by Vera Wang" line of wedding gowns ranging in price from $600 to $1,400. The Vera Wang brand was acquired by WHP Global in 2024 with Wang staying on as Chief Creative Officer. 

Wang's design style is described as a modern, sophisticated, and often avant-garde aesthetic that blends high-fashion sensibility with timeless elegance, incorporating unconventional, sculptural designs that often feature sensual silhouettes, intricate draping, and bold details like touches of black or vibrant color. 

Celebrities who have publicly worn Vera Wang designs include Michelle Obama, Viola Davis, Mila Kunis, Keira Knightley, Oprah Winfrey, and Sofia Vergara. 

Kathy Bates wore a silvery-grey satin Vera Wang gown with a broad, round neck, long sleeves, a gored skirt with a small train, and silver beading along the bodice. The gown had beautiful lines, and the neckline was particularly flattering, but the satin was terribly creased across the front, which unfortunately spoiled the lines and the overall look. Grab a steamer or lay across the back seat of the limo next time, and this dress will be a winner. 

McKenna Grace wore a princess-seamed pale pink satin sleeveless ballgown with a pleated skirt, accessorized with a narrow matching wrap. It was lovely, feminine, and beautifully tailored, but it felt like something was missing. Perhaps she needed a more contrasting or textured wrap or some detailing at the shoulders to bring the visual weight up towards her face; perhaps even a bit of colored piping or crystal beading along the neckline to draw focus. But it was a lovely dress and she wore it well.

   

Zac Posen

While he was still only in high school, Zac Posen interned with designer Nicole Miller, participated in the pre-college program at Parsons the New School for Design, and was mentored by curator Richard Martin at The Costume Institute of The Metropolitan Museum of Art. Upon graduation, he enrolled in the womenswear degree program at London's Central Saint Martins College of Art and Design at the University of the Arts London. He presented his first runway show in 2001, and then established his own design studio. He has partnered with Sean Jean, Target, David's Bridal, and Delta Airlines. In 2014, Posen was named Creative Director for Brooks Brothers, and in 2021 he became the Creative Director of Gap and Chief Creative Officer of Old Navy. 

Posen is known as a sculptural designer who specializes in body-hugging gowns, intricate drapery, and techniques like bias-cuts that enhance the female form, combining structured tailoring, dramatic silhouettes, and old-Hollywood glamour with modern, technical precision.  

Celebrities seen in Zac Posen designs include Glenn Close, Reese Witherspoon, Natalie Portman, Lucy Liu, Rihanna, Amanda Seyfried, Sarah Jessica Parker, Kate Winslet, and Claire Danes.  

Barbie Ferreira's electric blue Zac Posen gown combined a corset-style bodice with a layered skirt intended to be reminiscent of a shirt tied around the waist. I loved the contrasting straight and curved lines, and the heavy fabric of the skirt seems to float weightlessly. I did find that the bodice was a little on the tight side and she appeared to be spilling over at certain angles, but on the whole it was a stunning look.