Red Carpet Review: SAG Awards, 2023

Once again, I missed both the red carpet and the awards show of the Screen Actors' Guild last night, but thanks to the magic of the internet, I've looked at the red carpet photos from the awards and I have a fashion review for you! As is often the case, there were a few trendy looks that we saw over and over, so I'll group the looks into categories, and you can be the judge as to who you think wore it best. 

She Sells Seashells

Several celebrities opted for a mermaid theme involving seashells or scales. Interestingly, none of them featured a traditional "mermaid" silhouette (which is fitted at the waist and hip and flares out from the knee to emulate a mermaid's tail).

Danielle Deadwyler's sequined A-line gown featured a blush peach bodice that dissolved into ombre peach-to-coral-tipped scales which increased in size toward the hem, ending in a short scalloped train. Having larger scales at the bottom prevented the dress from being bottom-heavy, despite the lightness of the plunging bodice and delicate straps. I also loved the choice of a delicate pearl necklace to continue the sea theme.

Julia Garner's deep copper dress featured pleating that formed seashells at the bust, fans at the elbows, cascading streamers from under the bust, and flared out into a train at the hem. The pleats gathered and wrapped tightly at the waist, creating lovely lines to draw the eye inwards. The top of the bodice was open metallic "netting" reminiscent of a fishing net, a detail which I loved. Garner's stark hairstyle and makeup could have been softened a little for a more unified look, but that's a minor nitpick in an otherwise terrific look. 

Quinta Brunson's black-and-white sheath featured a narrow black skirt accented with subtle crystal beaded fringe that provided a hint of sparkle, and a white bodice with corset seaming and a scalloped top, forming the shape of a seashell. The lines of the shell drew the eye in where they should be in and out where they should be out, and the stark white of the bodice was balanced visually by the sparkle of the skirt. Nicely done!

Este Haim's metallic column featured smaller silver and gold scales cascading from the shoulder to the bust and larger ones cascading from the waist to the hem, with a black section in between with a triangular keyhole. It was a great concept, but the line where the upper scales met the black section falls at a very odd level. If the upper scaled section were more of a yoke, ending above the fullest part of the bust, making the keyhole at the décolletage level, and the black section were more fitted, this would have been a really great look. 

Fancy Fabrics

Some gowns rely on their structure or silhouette for visual interest; some use unusually colored or patterned, shiny, textured, or otherwise eye-catching fabric as the anchor of their design. We saw quite a variety of fancy fabrics last night.

Satin is gorgeous, but it's difficult to wear on the red carpet as it wrinkles terribly. Patricia Arquette managed to keep her pale mint green satin dress nearly impeccable. The gown featured a portrait neckline with a band of beaded lace running diagonally across it, bell sleeves with matching lace at the wrists, and just a hint of a train. It did have an unfortunate vertical seam down the center of the modesty panel which was not visible at a distance but was quite noticeable close up. Arquette is not one of my favorites on the red carpet, but I find this dress both prettier and more flattering on her than a lot of looks I've seen her in, so I'm giving her a thumbs up for this one, as well as for her lovely makeup and soft blond waves, and most especially her coordinating lace reticule. 

Jessie Buckley's metallic gown showed exactly why light but stiff fabrics like satin and lamé can be problematic on the red carpet. Her draped gown was covered in unintentional wrinkles and crinkles. I liked its Grecian-inspired draping, with the bodice draping like a toga but with an added strap, and gathered at the left hip in such a way that it dropped down to the hem as a flat (albeit wrinkled) panel rather than a full skirt. I also loved her Veronica Lake-esque asymmetrical waved bob just barely covering the side of her face. A quick steam before the photo ops and Buckley would have been channeling a Greek goddess. 

Good-quality velvet is always lovely on the red carpet, because of the way the pile catches and changes the light as the wearer moves. Elizabeth Debicki's deep olive gown took advantage of this phenomenon with its draped boat neck and full skirt. I wish the color had been just a hair brighter, especially with Debicki's pale makeup and super-straight pale blonde hair, and I would have liked a bit more sparkle with chandelier earrings or diamond bracelets or even a small handbag. But on the whole, a pleasant if not especially memorable look. 

Michelle Yeoh's gown was a very simple strapless black silk ankle-length sheath, with visual interest created by a voluminous fall of pale gold sequin strips (it looked like an oversized feather boa at a distance, but it's worth looking at in closeup). I didn't like this look when I first saw it, but it grew on me as I looked closer. Also, I absolutely adored her giant chandelier earrings that combined diamonds with soft gold gems to tie in to the gown, and her softly waved hairstyle. 

Ayo Edebiri's whimsical checkerboard gown demonstrates how an interesting pattern can bring a design with simple lines to life. The pattern was large enough to avoid dazzling the eye, and the chocolate brown-and-white was more flattering on her than black-and-white would have been. I loved that the squares weren't perfectly, well, square, but when you look closely, many had irregular edges. I also loved the way the dress was fitted to the hip rather than the waist. A very pretty and different look. 

Mara Rooney's clingy black-and-white gown relied on its beautiful imagery of what looks like a plumed bird. The varying shades of black and grey, along with the swirling lines of the feathers, was lovely and eye-catching. Rooney's usual stark, tight, center-parted hairstyle and stern expression actually worked with the simplicity and starkness of this gown. 

The fabric of Simona Tabasco's gown was both an unusual (and stunning) shade of teal and had an interesting waffle texture. It had a significant amount of body without quite being stiff, and which worked well with the bell-shaped line of the skirt created by a single deep pleat at the front, an extremely simple bodice, and a wide contrasting belt. I even loved the slight flare added by the deep, roomy pockets!

Showing Some Skin

There are as many different ways to show skin on the red carpet as there are celebrities posing there. Some are classy and subtle, some are blatant and obvious. We saw those extremes and everything in between on the red carpet last night. 

Sheila Atim showed a little skin by pairing a full, ruffled burgundy skirt and matching wrap with a cropped corset top with red trim. I didn't love the contrast of the sleek, bra-like corset with the ruffled, textured skirt, which felt a little disproportionate and bottom-heavy, but I did love the lines of the lower half. It just needed a little less bulk, or some visual weight at Atim's shoulders to balance the look. 

Claudia Sulewski's pale pink column was a fun show of skin, with its triple-strapped, triple-keyhole neckline and full side cape. My only objection was that it was just a little too tight, which created horizontal creases across her thighs.  But otherwise, chef's kiss!

This was not the right way to show skin. Jessica Frances Dukes' white gown was oddly proportioned, with a giant feather collar topping a weirdly-shaped keyhole front to the bodice, and it clung too tightly at the hips, making the top of the slit look strained. It wasn't a terrible concept (except for the collar), but it definitely needed a lot more tweaking at the fitting stage. 

I know that "thin is in," but I simply don't find noticeable ribs and protruding hipbones to be sexy. Meghann Fahy has a gorgeous figure, but these cutouts made her look skinny instead of slender, and sharp and angular instead of soft and curvy. The general silhouette of her white, one-shoulder halter was lovely, but the skin she was showing wasn't as flattering as it should have been. 

Aubrey Plaza showed more skin than most in a gold sequin column with criss-cross bodice and deep center slit. The concept wasn't terrible, but the bodice was poorly fitted so the straps looked precariously high, revealing an unflattering amount of (admittedly perky) "underboob." The v-shaped waist of the skirt created a graceful and flattering line, but it was noticeably snug when Plaza wasn't consciously watching her posture (and, I suspect, "sucking in"), as when at the podium as a presenter. Her hair and makeup, however, were absolutely lovely and spot on. 

The look of a visible bra on the red carpet is always a delicate balance to make work, but Jenny Slate's gem-encrusted bra worked beautifully with her wrapped, drop-shouldered gown. I loved the gentle draping across the front and at the hip, and the lovely side slit. And this was another time when the sleek, center-part hairstyle absolutely worked. 

Although I loved the silvery-black floral fabric of Ana de Armas' A-line gown, I didn't love the proportions of the bodice. It featured narrow double straps and a deep V neckline, but what threw it out of proportion for me was the large, floppy black bow at the base of each shoulder strap. I did like the way they echoed the black velvet belt (which was a wonderful detail), but the inverted v-shape looked saggy. Swap the bows out for rosettes and the expanse of skin revealed by the bodice would be much more flattering. 

Everything Old is New Again

Kathryn Newton's pale lavender, flared cocktail dress featured a basque waistline and gathered black inset across the bodice. It combined the silhouette of the flared, crinoline-supported skirt of the 1950s with a more contemporary bodice style to create a delightful retro-yet-modern look. And I would kill for those adorable lavender pointy-toed pumps with their delicate little bows! 

D'Arcy Carden also channeled 1950s glamour in a sky blue strapless tea-length gown with a sheer dotted Swiss overlay, paired with sheer opera-length gloves. The bodice was ruched to create texture and horizontal lines to contrast with the vertical lines of the gathered skirt. Her silver clutch, delicate rhinestone strappy sandals, and sparkly earring peeking out from her hair tucked behind one ear were all absolutely delightful. 

 

Amanda Seyfried looked like she'd just stepped off the set of Austin Powers (and I do mean that in the nicest possible way) in a 1960s-inspired short lime green satin shift with a broad panel trailing from the back to form a kind of train. Her minimal makeup and teased high ponytail completed the sense of '60s chic. Groovy, baby! 

Classic Glamour

No matter how many avant garde and haute couture looks we see on the red carpet, we can always count on some classic Hollywood glamour for the cameras. And the stars did not disappoint last night!

Nothing says classic Hollywood glamour like a taffeta ballgown; for example, Jessica Chastain's raspberry off-the-shoulder gown. The wrapped bodice was just slightly asymmetrical, and the large drape of fabric at the waist of the skirt created a lovely line without looking heavy or out of proportion. The super-straight hair and diamond and ruby chandelier earrings were just the right finishing touch. 

 

Sabrina Impacciatore wore a similar shade of pink, but in a completely different fabric and style. Her long-sleeved chiffon dress featured a full sheer cape and a bodice that gathered gracefully into an empire waist, cascading into a full skirt with barely a hint of a train. The fullness and yet lightness of the fabric created such a pretty, floaty line as Impacciatore moved, which she took full advantage of as she charmingly posed on the red carpet, clearly enjoying herself thoroughly.

 

No one does glamour and elegance quite like Zendaya, and this blush pink gown, with exquisite seaming on the bodice and a cascade of satin roses forming a train, was as glamorous as it gets. Somehow the gown didn't look bottom-heavy despite the volume of roses increasing from top to bottom, perhaps due to the gorgeous chunky diamond and and colored gemstone necklace and the waved, flippy hairstyle drawing attention to Zendaya's gorgeous face. Zendaya continues to be at the top of my best-dressed list. 

"Classic" doesn't necessary mean "old school," as demonstrated by Sheryl Lee Ralph in her slinky, figure-skimming gold gown with sheer overlay with just a hint of sparkle and long shoulder drapes. Covered up to the point of being demure, and yet still as sexy as all get-out. That's glamour. 

Basic Black

Basic black is a red carpet staple, but it needs something to avoid being boring. Some basic black-wearers did it right last night; others...not so much.

Kerry Condon's black gown with silver textured fabric in the sleeves and yoke wasn't terrible, but it had a rather matronly feel to it. Perhaps swapping out the high neckline for a slightly lower v-neck, or even removing the yoke and leaving just the silver sleeves and trim would have worked better. The general silhouette was lovely, and I liked the silver bands at the waist and the front of the bodice, but it was just a little frumpy as is. 

One of the many ways to add visual interest to an all-black dress is to use artistic seaming and gathering to create flattering lines, which was true of Jennifer Coolidge's dress. Although I liked the diamond-shaped seaming of the bodice, especially the way the fabric of the skirt was gathered in to form fullness at the hips, I found that at certain angles it was not the most flattering look for Coolidge's figure, making her tummy look a bit rounded. However, I loved the broad, low sweetheart neckline, the tapered skirt, and especially the wide black headband and a pair of diamond of cuffs worn over the sleeves. 

Cara Delevigne's black gown featured fitted ankle-length pants under a full, open-fronted skirt with a train, and a long-sleeved bodice with a low neckline accented with two large fabric flowers. I loved the concept (slim pants under a full skirt is a look that has really grown on me), but I found the upper edge of the bodice to be a little low, due to the stark contrast between Delevigne's pale skin and the rich black fabric. It wasn't awful, but I think it might have looked more well-proportioned with either a slightly higher neckline or an added detail above the flowers, perhaps a sheer pleated ruffle or fan. I liked her diamond jewelry and bright red lip, but I was not a fan of the slicked-back hair at the hairline and looser at the crown. Either a sleek chignon or a soft, loose wave would have worked better for me. 

Chloe East showed how black-on-black detailing can be used to wonderful effect, in her fitted sheath with criss-cross halter straps and bands radiating from the waist to form a starburst. The simple difference in texture between the two types of black fabric creates subtle but elegant lines. Marvelous. [Note: After I wrote this, I saw another photo and realized that East's dress is actually a very dark teal with black bands. But my comments still stand.]

I really wanted to like the silhouette of Julia Butter's ruffled black ballgown, but the lines were a little too straight, looking more like a tent than a bell. I did like the way the ruffles curved up and down instead of going straight across, and I liked the simplicity of the bodice with just a hint of eyelash at the top echoing the eyelash edging of the skirt ruffles. But somehow the overall look came off as stiff and uncomfortable. 

Sally Field is as adorable as ever, but I'm not a big fan of this black dress. It's a great silhouette, and I especially like the ankle-length A-line skirt, but the sheer illusion bodice with curving black lines seems oddly revealing (and yet not). Leave the sheer sleeves and make the rest of the bodice solid, and this look would be a win for me. Also, her hair is adorable and I love that she wears her glasses unashamedly on the red carpet.

I've said it before and I'll say it again: Laura Linney needs a different stylist. The silhouette of this dress is lovely, and the hint of silver patterning on the fabric is great, but please remove those draping shoulder details. They're too bulky and too broad, and they make her look like a linebacker. And again, the slicked-back hair at the hairline and loose at the nape look is not working for anyone. Please, please stop doing it. 

Lisa Ann Walter's look is so close to perfection, except for the common mistake that so many full-busted women make of spilling out over their gown. Bigger and well-tailored is always better than smaller and ill-fitting. My boobs ache in sympathy, especially because the rest of this gown is so spectacular, especially the full, semi-sheer, patterned sleeves and the black-on-black embroidery on the skirt. 

Haley Lu Richardson wore a strapless black velvet column studded with pearls, which made the whole gown look like a sky full of stars. I loved the matching pearl-encrusted bag, and also that she chose not pearl earrings, but rather diamond drops that echoed the teardrop-shaped pearls along the top of the bodice. The pop of red lips was also terrific. I'm not sure how comfortable it was to sit down in that gown, but Richardson certainly looked like a million bucks. 

What I loved most about Cate Blanchett's form-fitting sequined column was that she had previously worn it to the Golden Globes in 2014 and at the Cannes Film Festival in 2018. Not only does it have lovely and interesting lines and contrasting textures, it's sustainable fashion!

I loved the simple lines of Michelle William's black dress, which featured a fitted bodice with a widely curved top, angled velvet straps that formed a bow at the top of the bodice, and a beautifully flared skirt with a short, full train. However, I didn't like the way the look was styled: the short pearl necklace wasn't right (or needed) with the triangular lines created by the velvet straps, and her severe, pulled-back hairstyle with center part didn't create the right elegant or glamorous feel. I would have loved to have seen her hair in soft waves, perhaps pulled behind her ear on one side, with classic pearl drop earrings or a cuff bracelet as her only accessory. 

Amy Poehler used structure to add interest to her basic black column. I loved the swooping circle of her bodice - large enough to be noticed, but not so large as to be overdone or look uncomfortable or unwieldy. I especially love the geometric contrast of the almost-rectangular silhouette of the gown with the circle of the bodice. Whimsical and elegant. 

Lady in Red

Vivid red is a perennial classic on the red carpet, and last night was no exception. 

Jamie Lee Curtis frequently wears sleekly fitted long-sleeved columns on the red carpet. Last night's look featured a narrow, deeply-plunging neckline, slight gathering at the shoulders, and a short puddle of train. Her only accessories were square textured earrings, subtle makeup with a dusty pink lip, and her fabulous silver pixie cut. She rules the red on the red carpet.  

Hannah Einbinder's look is a great example of how styling and accessorizing can make or break a look. This is a fabulous dress; both the color and the cut are marvelous on her. But the tiny choker is lost in the wide open neckline, and the tight, high half-topknot has a completely different feel from the dress itself. The elegance and volume of the short but full train calls for a fuller, looser hairstyle, and the openness of the neckline calls for a longer, chunkier necklace. Also, hair pulled back to show the ears always calls for a noticeable earring, whether a chandelier or a sparkly stud. 

Emily Blunt's fabulous red column featured wrapped bands of fabric with little peeks of skin in between, and a gorgeous trail of embroidered pink flowers trailing gracefully from shoulder to hem. The bands were cleverly designed to be closer together to cover strategic areas, and grew in width from top to bottom. A masterpiece of design and execution. And it looks so comfortable!

Elizabeth McLaughlin's red dress had some beautiful details in its construction. I loved the way it had a corset-type midriff to create a perfectly snug (but not tight) silhouette from waist to hip, I loved the pointed bodice above the corset, I loved the train that flared out at the back of the knee, and I especially loved the perfectly coordinated red lipstick. Perfect tailoring and a great color can sometimes be all you need!

Yellow, Yellow, Kiss a Fellow

Shades of yellow, from buttery sunshine to bilious chartreuse, were popular on the red carpet. While they are certainly eye-catching, they do not suit many skin tones. Last night, however, most of the yellow dresses truly worked for their wearers.

Viola Davis frequently wears sunshine-yellow gowns, which is not surprising considering how stunning that particular shade is on her. This particular dress is a fit-and-flare style with meticulous princess seams, no waist seams, an A-line skirt, simple long sleeves, and a graceful w-shaped neckline. Davis accessorized with chunky diamond bracelets and large hoop earrings, and a sparkly animal-print clutch with yellow detailing to tie it in to the dress. Fab. U. Lous.

The least successful of the yellow gowns was Claire Foy, in this satin sheath with plunging neckline and double satin bands falling from the back of the waist to form a kind of train. The lines of the dress were marvelous and flattering; it was only the color that made her look a bit washed-out, particularly with the very bright red lip. I did, however, love her delicate diamond necklace and fun triangular spangled clutch (it's actually a minaudiere!).

It takes a big personality and impressive bearing to wear a voluminous dress without being devoured by it, and Angela Bassett has both in spades. I loved her vivid yellow bandage dress with its voluminous, tulle-accented bodice and mermaid hem. Her glorious long, full curls helped to balance her look, and I loved her little crinkly silver clutch, which echoed the wrapped texture of the dress.  

Va-va-voom! Niecy Nash-Betts' incredible figure was the center of attention in a chartreuse silk gown with sheer chiffon overlay ending in a short train. I loved the lines created  by the seaming and the gathered fabric of the bodice and the wide, smooth self-belt. Stacked diamond bangles, diamond-shaped (and diamond encrusted) earrings, and a sparkly metallic silver clutch, along with subtle makeup and soft, relaxed hairstyle were just the right accessories.  

Suits Me

Pantsuits are becoming more and more popular for women on the red carpet, from traditional tuxedos to jackets and pants of every conceivable style. 

I loved the color of Ariana DeBose's deep rose suit, but I felt that it wasn't properly tailored for her. I did like the slightly squared shoulders and the plunging neckline, and the flare of the pants, but the jacket and pants were both just a hair too long, which created a droopy effect that pulls the attention away from DeBose's face. I also didn't love that it had two sets of buttons like a double-breasted jacket, but it wasn't actually double-breasted so the buttons were off center. Lose the extra set of buttons and shorten those hems an inch or so and this look would have been fantastic. 

Elaine Hendrix went with a classic tuxedo, all the way from the satin lapels to the wing collared white shirt and black bow tie. I especially loved the perfect coordination of her bright red lipstick and bright red toenail polish. 

Adina Verson wore a delightful three-piece tweed suit, eschewing a shirt, accessorized with a scarlet poppy boutonniere, a low choker, and dangling earrings. Charming, appropriate, fun, and clearly suiting (ahem, so to speak) Verson's personality. 

She's Got Legs

At every red carpet there are dresses with short skirts or deep slits showing a lot of leg, but this season we're seeing a lot of long skirts drawn up at the side to reveal a single leg. 

Stephanie Hsu's gown was a subtle red-on-red floral print with a sleek fitted bodice with a wide, scooped neckline and a full skirt that was drawn up to form a Georgia O'Keeffe-esque curve. I loved that there seemed to be a short, straight miniskirt underneath rather than showing too much skirt or some kind of underwear, as is commonly done. The heavy train on the right offset the volume of material on the right for a balanced overall silhouette. 

Jenna Ortega's gown could have been included in Basic Black or Fancy Fabrics, but to me the most eye-catching detail of the gown was the unexpected contrast of the "tough"-looking shiny black, starkly structured bodice and wide studded belt with the ruffle-edge, drawn-up skirt. The dress could have been a bit harsh without it, and I love the way it softened the look, a combination which truly suits Ortega's persona. 

In contrast to Angela Bassett's voluminous yellow gown above, Keltie Knight didn't quite have the presence and/or stature to pull off her ruffled, one-shouldered tulle-trimmed gown. I like the line of the skirt, with the ruffled finish at the opening, but the shoulder ruffle was too voluminous and overwhelmed her. Lose a couple of layers of shoulder ruffle, and swap out the clunky closed-toe shoes (that aren't quite the right color) for some strappy sandals, and this would be a much better look. 

Sheer Delight

Sheer panels, sheer overlays, sheer overall - we see it all on the red carpet (in more ways than one). But when is it too much?

Li Jun Li was carefully treading the line of how much is too much, but this look actually works for me. I like the way the bodice is lined without looking either bare or like a visible bra, and the underpants are cut just shy of being the dreaded "granny panty." Somehow the fact that her belly button is visible makes it cute instead of trashy to me. I also like the way the fabric seems to become slightly less sheer towards the hem. It shouldn't work for me, but somehow it does. 

My objection to Britt Lower's dress wasn't so much its sheerness as its bland color. Beige and champagne-colored dresses don't usually look good against fair skin, and that's true of this dress. I did like the metallic gold detailing, the plunging neckline, and the narrow gold belt, but the overall silhouette was a little too straight and bland for me. This dress is a better color - which could be anything from a pale lavender to a deep emerald green - would have worked much better for me. 

Jessica Williams' black, white, and gray geometric gown with sheer panels was yet another "good concept, poor execution" look. I liked the curved lines in the skirt, but the sheer panel exposing one-and-a-half legs looked awkward; perhaps narrowing it a little or centering it at the front of the skirt would have looked better. Also, the sheer panel in the top was high enough to expose "underboob" while looking like a demure sportsbra in the black panel above, which felt odd. There was also a horizontal line across the panel that I think was a crease cause by poor fitting (or possibly poor posture on Williams' part). It wasn't awful, but it could have been so, so much better. 

Miscellaneous Mistakes

Sadly, there are always a few missteps on the red carpet, and I'll end with a few that defy categorization (at least, in this blog). 

Hong Chau's pale peach satin-and-sequin slip dress wasn't terrible in concept, but the execution was all over the place. The cups of the bodice were much too low, creating a droopy look that was further emphasized by the diagonal lines of lace. I'm not clear if the skirt was separate or attached, but in either case, the waistline was lumpy and didn't sit properly on her body. I liked the peep of lace showing under the sequin skirt, but it was uneven and should have been tacked to the skirt to keep it in place. And finally, the trailing bands of fabric were too long and new narrow for the lines of the outfit. Adjusting the fit and proportion of all these pieces without changing the overall concept would have vastly improved this look. 

I wouldn't go so far as to say that I dislike Joely Fisher's structured green gown - and I am, in fact, fascinated and impressed by its construction - I wouldn't say that I quite love it, either. I think it's the corkscrew lines of the ruffles and the way the skirt is "spun" in this photo that bothers me. It is a great color on her, and despite the slightly oversized shoulder details, it's well proportioned and has a lovely silhouette. I think I would like it if the ruffles were just a little narrower and the shoulders were significantly smaller. So...not great, but not bad. 

My sister and I are fond of joking that everything in physics comes down to fractals and vectors. However, everything in fashion comes down to tailoring and proportions. Sadly, Sarah Goldberg's dress doesn't quite succeed in either aspect. As for tailoring, the front of the bodice tucks in oddly under the bust, creating distracting shadows, and it nips in at an angle at the waist rather than creating a smooth curve (it looks like there are back ties attached at that point). The shoulders also extend past the point of the natural shoulder but the fabric isn't quite stiff enough to keep its line and instead droops right at the armpit. As for proportion, the three-tiered skirt is much too full, and the type of fabric almost changes color between where it lays flat and where it gathers, which makes the piece look oddly disjointed. A very disappointing look.

Olivia Williams' vivid orange chiffon gown wasn't awful, it was just shapeless. The halter top was pretty, and the ruffling at the hem was terrific, but the silhouette was just ugly. Put a self-belt on that dress and you'd have a much better look. 

Zuri Hall also wore a dress that was somewhat shapeless, but it had a structure and flow that worked much better than Williams', above. The fabric had enough body that although it felt a little heavy, it wasn't as droopy as it might have been, and the angled panels at the top created a separation of the "bodice" and the skirt that gave it a sense of structure. I loved the pop of black in the soft, heavy halter straps. Plus, it looks like a swishes when it moves. 

Sometimes the pieces are great individually, but just don't work well together, as in Megan Stalter's confused look. The black corset is great with the black tights and heavy-soled shoes, and the printed, draped chiffon wrap skirt and the off-white seemingly printed top under the corset might have gone together, but all the pieces combined did not create a unified or flattering look. But Stalter's beaming smile, plus her gorgeous curls pulled up into a high half-ponytail, were adorable enough that I have no doubt she could not care less about anyone's opinion but her own, and she's clearly loving it. Good for her!

And let me close with a final kudo for Christina Applegate, who, despite her health issues, walked the red carpet with assistance from both her cane and her date, daughter Sadie Grace LeNoble. Applegate rocked a long velvet double-breasted tuxedo gown with satin lapels, pocket flaps, and buttons, and a long train. She's gorgeous, stylish, and a fighter. You go, Christina!