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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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