2023 Academy Awards: (Not) Red Carpet Review

Despite the "red" carpet not being red (they decided it should be champagne this year), there were plenty of glamorous (and a few not so much) looks on parade at the 2023 Academy Awards last night. Just for a change of pace, I'm dividing them up by the designers represented. Many of the big-name designers (Chanel, Dolce & Gabbana, Louis Vuitton, etc.) dressed multiple celebrities, but there were a few lesser-known names who dressed one or two of the big names present. 

Alexander McQueen

Rooney Mara's white, empire-waisted, wrapped bodice gown had a very Regency feel to it. The tail was gathered in a tie so it trailed awkwardly. The dress was pretty (if a bit bland) for the most part, but I didn't like the "tail," and the overall style just didn't seem to suit her. 

Armani Prive

Nicole Kidman's black column featured one full-length sleeve, a thigh-high slit, and large silver-edged rosettes at the shoulder at hip. It was a very graceful silhouette, although I would have preferred a lower neckline. It was a lovely look overall, but not especially memorable. 

I loved the bias-cut draping of Winnie Harlow's pale yellow dress with a simple tank-cut bodice with a bit of black piping detail and a pretty flare at the knee leading to a short train. Very Old Hollywood elegance. I liked the contrast of the black piping, but it wasn't clear to me what the blob at that top was supposed to be (maybe a flower?), but it looked like an awkwardly placed, oversized lapel microphone. I would love for the piping to have been along the edge of the bodice and the armholes instead, since the yellow blended into Harlow's skin tone, so the pretty lines of the bodice were lost. I did love the black clutch coordinating with the piping. A very pretty look.

Chanel

Michelle Williams' look consisted of a white column with a silver bodice with a sheer, spangled, full cape overlay. I loved the undergown, and I did like the way the overlay created a misty effect to the gown's silhouette, but I did find the lines of the cape where it closed at the neck to be somewhat matronly up close. On the whole, though, a nice look.   

Vanessa Hudgens' sleek black-and-white two-piece (I think) gown had a lovely fitted silhouette that flared just slightly from the knee. I loved the wide white bands at the neck and hem, although I wish the skirt had been a hair longer, so her feet peeped out from under the dress instead of showing completely. I also loved that the top seemed to have a close-fitting peplum, which added some retro glamour. 

Nazanin Boniadi also had a sheer cape overlay, but both her dress and her cape were a completely different style from Williams', and created a completely different effect. Her knee-length sparkly blue-gray underdress had a 1950s prom vibe to it, and the darker blue cape was pulled back behind her shoulders and fell to her ankles. It was a beautiful combination that brought together vintage chic and modern elegance. 

Christian Siriano

I loved the vivid red of Melissa McCarthy's gown, and the full, bell-shaped skirt was very pretty, but the high neck, very square shoulders, and puffy long sleeves created too much volume overall. I would have loved this skirt combined with a bodice with a narrow v-neck and sheer bell sleeves to give a lighter feel.

I loved the color and cut of Lilly Singh's magenta suit, consisting of a floor-length jacket, wide-legged pants, and cami, but I wish it had been tailored to be a little less baggy. It was a little too broad in the shoulder and the pants were just a bit too voluminous. Not a bad look, and a few minor tweaks would have made it spectacular. 

Dior Couture

Nobody works a feathery gown like Michelle Yeoh, and this lovely white strapless gown with a short tulle train is no exception. I loved her long pearl earrings and oversized ring (which seemed to feature a googly eye, a detail that seemed to be a theme among the cast of Everything Everywhere All At Once - James Hong impishly wore a pair on his bow tie), and her elegant watch was bejeweled enough to pass as a bracelet. Her dark hair was left in simple soft waves and tucked behind one ear. Sheer perfection.

Dolce & Gabbana

Jamie Lee Curtis was a vision in a heavily beaded, blush pink column with corseting details at the waist. The vertical lines of the corsetry elongated her figure, as did the long, fitted sleeves. There was just a hint of gathering at one hip and just enough flare in the skirt to soften the line. Curtis' gorgeous cap of snow-white hair looked even more pure white against the blush gown, and the beading on the gown was all the sparkle she needed. 

Halle Bailey's aqua tulle gown used corsetry in a completely different way, with visible seaming creating interesting lines across the bodice, which was topped with a short line of tulle ruffle echoing the full, floaty skirt, which was the tiniest bit sheer, showing a peep of demure panties. Her diamond choker and earrings were all the accessories she needed to create an elegant but youthful look.   

Marlee Matlin wore a black dress with tiered ruffle skirt trimmed with feathers and a coordinating short tailored jacket. I'm not a big fan of bulky ruffles or feathers, but the skirt wasn't overly full and the trim lines of the jacket balanced the "foof factor", resulting in a lovely and flattering silhouette. I prefer Matlin's darker hair, but I will admit that the blond worked really well with the all-black ensemble. 

Phoebe Waller-Bridge also wore an all-black gown, but hers was a strapless slim column with barely-sheer bodice and a tiny bit of train. It was lovely on her willowy figure, and was accessorized nicely with a diamond pendant, an asymmetrical waved bob, and a pop of red lipstick. What a way to do basic black!

Elie Saab

Cara Delevingne is one of the few celebs with the presence to pull off a voluminous red ballgown with oversized accents. This one-shouldered gown featured a to-the-hip slit, a huge rosette on the shoulder, and a generous train. Delevingne's mile of visible leg visually balances the one bare arm, and her heavy diamond necklace doesn't get lost amidst the bulk of the gown. Normally I would recommend a soft, loose updo with a big ballgown, but Delevingne's slicked-back low bun works perfectly for her. I loved this look. 

Lauren Ridloff's gown was the opposite end of the spectrum: pale, neutral color; slim-fitting silhouette; lots of beading and sparkle. The bodice is a wife, plunging vee with diamond-shaped side cutouts, but the long sleeves provide a sense of coverage so it doesn't look too bare. Ridloff also works the severe middle part and slicked-back hairstyle, which gives this very feminine dress just a hint of a hard edge.

Monica Barbaro's gown combined two colors and two skirts. The front of the bodice and the front panel of the skirt were a sheer gray-blue fabric that gathered to become opaque, with a voluminous deep burgundy overskirt and slight train, with a narrow belt accented with a flat black bow. The bodice plunged to the waist, but was pulled taut enough to both stay in place and provide some amount of support. The dark sides of the bodice created the illusion of an even narrower waist. I didn't love the particular color combination, but the large contrast between the two colors definitely worked, and the overall silhouette was lovely.  

Fendi

Zoe Saldana wore an off-white slip dress trimmed with lace, and featuring a slight train. The only part of the dress that I didn't like was the noticeable (and unnecessary) modesty panel at the top of the bodice. There were several other dresses at the event with clearly visible, heavy-looking modesty panels or illusion fabric, so I have the impression that this is becoming a trend. But I don't find it at all appealing. 

Giambattista Valli

Sandra Oh wore one of a number of gowns in shades of yellow. Her deep mustard, Grecian-inspired gown was a terrific color on her. I loved the soft, draping lines, and especially the way the panels cascading from her shoulders curved up to tuck into the waistband. If I had one minor quibble, it would be that the draping at the hips was just a little too bulky, but even so, I adored this look. The large amber pendant and soft updo with loose tendrils completely the "Greek goddess" look perfectly. 

Allison Williams' ensemble consisted of a nude column accented with pink and silver floral embroidery, and a pale pink cape/jacket/wrap with sleeves from wrist to elbow and a long, full, ruffled train with a bulky crinoline. I found the look to be strangely heavy and unbalanced, with so much weight in the lower part of the train. It looked heavy and bulky instead of light and floaty. I kept having the impression of a bride who's caught her veil on a nail in the floor and is being pulled up short. Not a good look. 

Sofia Carson's white tulle gown was much more balanced, and used volume in a flattering way. The bell-shaped skirt rose to a snugly-fitted waist that continued several inches above the natural waistline, then formed a bodice from criss-crossed bands of fabric that extended into low, wide shoulder straps forming a portrait collar. Carson accessorized with a gorgeous chunky emerald choker and sleek, smooth dark hair. Elegant and memorable.

Givenchy

Elizabeth Olsen wore a tea-length fringed black halter dress with a draped neckline and a long sheer black panel at the back that seemed to tangle around her feet. It felt like a random combination of details from other dresses: the bodice is Grecian-inspired, the fringe is flapper, the length is 50s, and the fabric is almost 90s vinyl. This whole look was just a mess.  

Sigourney Weaver was much more successful in a metallic gold mermaid gown with long sleeves, softly curve v-neck, and gently flared skirt. It had a great shape and was a lovely color on her, and the fabric had a very subtle animal print that was just enough to provide some visual interest and texture. 

Gucci

One of my frequent complaints about Jessica Chastain's red carpet looks is that she wears pale colors that wash out against her skin. This gown solves that problem nicely by edging the deep plunge and top edge of its structured bodice with a band of dramatic black. The sharp angles contrast nicely with the starburst-shaped swirl of fabric that gathers in at the base of the vee. An overall gorgeous look, and one of my favorites that Chastain has worn over the past few years. 

  

I was less of a fan of Salma Hayek Pinault's metallic orange dress. The bodice had a pretty shape, with angled halter straps and a keyhole slit at the top, but it was so tight that her breathing was noticeable, and the heavily fringed skirt looked weighty and turned a different color from the bodice under the light. Go easier on the fringe and loosen that bodice a little, and it would have been a much more flattering look. 

Jason Wu

Danai Gurira's black ball gown had  a full but soft skirt and a straight-front bodice (almost like a stomacher) with a stiff ruff at the top that I really liked. And I simply adored her literally foot-high updo with a rhinestone circlet at the base. It balanced the volume of the skirt, and it was just plain cute. It transformed a nice but bland look into an eye-catching and memorable one. 

 

Kelly Ripa's sleeveless black lace column was a little sheer under the lights, but it's true sex appeal came from its broadly open back. The lace provided texture and created some subtle, slimming vertical lines, and the very slight flare of the skirt created a gorgeously curved silhouette. Another wonderful way to do basic black. 

Lever Couture

Tems made quite a stir in this asymmetrical tulle gown with its soaring "hood" hovering far over her head. I was fascinated by the structure of the dress, but the dress itself seems to have been forgotten in the indignation of the public on behalf of the poor souls sitting behind her whose view of the stage was completely blocked by a giant loop of fabric. 

Louis Vuitton

For a number of years, Cate Blanchett has supported sustainable fashion by rewearing and restyling past red carpet gowns or, as in this case, opting for vintage items instead of custom or new gowns. This vintage gown features a loosely bloused teal satin top with a jewel neck and square shoulders, and a sleek black velvet skirt with a narrow train. Although I don't love the bulkiness of the top, the color is absolutely stunning on her, and she makes the look work.  

Jennifer Connelly's gown looks great in still photos, but I found it rather stiff and awkward as she moved. The triangular jewel-encrusted panel at the top creates a graceful line with the curved edging on the bodice that cascades into trailing ribbons at each shoulder, and dress was perfectly tailored to her figure, but I wish the stiff panel had been replaced with a fabric panel with halter straps to hold its shape. Combined with yet another slicked-back hairstyle, I found this look too severe for my taste. 

Ava DuVernay also combined black and silver: A black column topped with a sheer silver wrap and coordinating silver belt, with a silver-spangled black full train cascading from the waist, and long black gloves. The bodice was poorly fitted and looked uncomfortably tight, but a few tailoring tweaks and this would be a winner of a look. 

Ana de Armas' champagne-colored mermaid dress lived up to its name as it descended into fish scale styled ruffles as it flared from thigh to hem, ending in a short train. I found the scoop of the bodice to be a bit too wide, making her shoulders appear broad, and again the bodice looked uncomfortably snug. It wasn't the most flattering color on her. All that said, it wasn't a terrible look, and a brighter fabric and better tailoring would have solved most of its issues. 

Deepika Padukone (embarrassingly misidentified as Camila Alves by a number of reporters who need to get their glasses prescription checked) wore a spectacular black mermaid gown with a portrait collar and full-length black gloves. The drape of the bodice nicely countered the flare of the skirt - and this bodice was perfectly fitted. What a difference proper fitting can make!

Moschino

Angela Bassett glowed in this vivid purple wrapped organza gown. I loved the diagonal lines created by the draping of the fabric, the slight asymmetry of the shoulders, the bow at the knee, and the wonderful silver snake necklace. Gorgeous. 

Prada

 

Hong Chau wore an impeccably tailored sleeveless column with a mandarin collar (her request, to honor her Vietnamese heritage), accented only with a rectangular train of eyelash fabric. The contrast of colors and textures elevated the simple silhouette into something marvelous. 

Rodarte

Kate Hudson's figure-hugging silver gown featured dropped shoulders with white-lined flutter sleeves and a long narrow train. Its graceful silhouette was sleek but feminine. 

Jessie Buckley, on the other hand, wore a black lace dress with high collar and giant puffed leg o'mutton sleeves and lace gloves. The hem of the dress was a little too long but was too stiff to create a nice puddle, instead looking ragged and lumpy. It needed a keyhole neckline or perhaps a high slit to avoid looking dated and frumpy. I did really like the texture of the semi-sheer lace on the bodice. 

Saint Laurent

Andie MacDowell opted for a classic black sheath, adding some visual interest with an asymmetrical neckline. I would have loved one more subtle embellishment, like a trailing scarf or a small colored rosette, but even without it was an elegant, classic look. 

I really liked Sarah Polley's classic tuxedo with a vintage ruffle front shirt with ruffles at the cuff, accented with a deep red rose boutonniere. I even liked the cropped pants and the patent oxfords! But I'm not a fan of the no-socks look, even though it's been a trend for a while. I'd have loved it if she'd worn deep red socks to match the boutonniere, but I kind of loved it anyway.

Tamara Ralph

Halle Berry looked stunning in an ivory halter gown with a large front keyhole topped with rose gold rosettes and more rosettes at the top oh the waist-high side opening. The gown had a short but full soft train that puddled gorgeously. The finishing touch was a curly asymmetrical bob with gorgeous caramel highlights. Berry certainly knows how to work the carpet, no matter what color it is.

Tony Ward

Fan Bingbing wore my favorite look of the night: a stunning metallic sheath topped with an emerald green jacket/cape. Unlike Allison Williams' similar jacket/cape, Bingbing's fell closer to her body and the shoulders were higher and fuller, keeping the visual weight balanced and proportioned. This [iece floated instead of dragged. And the strong contrast of green and silver formed a kind of frame to direct the viewer's attention where it belonged, on her gorgeous face. Amazing. 

Valentino

Florence Pugh received a lot of criticism for this look, and I'm afraid I have to agree. The bare shoulders and neck made the huge puffed shoulders and bulky, bubble-style train look ever heavier. In addition, the fabric was horribly wrinkled, the undergarment looked like bike shorts (did we learn nothing from Demi Moore?), and the color was not flattering. That said, the top of the bodice was lovely, and if we kept that and let a lighter weight fabric cascade into a Regency-style empire style with just a hint of color, Pugh would have been much better served. 

 

Ruth E. Carter's vivid yellow gown used both color and fabric to create a stunning silhouette. I love the attached gauntlets, the curved edge of the bodice, and most especially the peep of vivid bubble gum pink lining at the edge of the train, which matched her fabulous pink platform shoes. An incredibly striking look - loved it!

 

Stephanie Hsu created a completely different yet equally gorgeous silhouette in her deep rose crinkle gown which was snugly fitted to mid-hip, where it ballooned out into a sweeping bubble hem with a slight train. Again, the gown had a lightness and grace to it despite the volume, making Hsu look like she was floating on a cloud.

On the opposite end of the silhouette spectrum, Emily Blunt wore a sleek, crisp white off-the-shoulder sheath with floating sleeves that barely slouched at the wrists. It could have been bland, but instead it had a classic quality that benefitted from being accessorized by only a matching white clutch and long diamond earrings. Perfect. 

Vera Wang

 

Mindy Kaling surprised the crowd by walking the carpet in a white column with a bra top supported by open corset boning and floating bell sleeves, then changed into a black version of the same dress when she presented. When you find an outfit that looks this great on you, why not get it in several colors??

Janelle Monae wore a cropped black velvet bustier with attached deep coral flared skirt. I loved the angled waistline and the short train, although I thought the heavy black choker created too large of a separation from the top of the bustier. I would have chosen a large pendant to tie in to the color of the skirt instead, but still a great look. 

Laverne Cox made a rare fashion misstep in this two-section gown with a long black narrow skirt with a short train, draped black floating gauntlet-style sleeves, and a mint chiffon wrapped bodice that cascaded into a long double train. The concept was great, but the execution fell short in a couple of places. My main objection was that she was wearing a very visible corset-style undergarment that didn't quite match her skin tone, and that looked very thick. Also, the waist of the skirt fell quite low on her hips, creating an unflattering line. And finally, the drape of the bodice looked messy and uneven. Not a great look for someone who is usually so stunning on the red carpet. 

Versace

I love when Lady Gaga goes glam on the red carpet. Her black A-line gown had a sheer, long-sleeved, jewel-necked bodice with visible corsetry creating figure-flattering lines that emphasized her curves, and the flared skirt arched out from a slightly dropped, upwardly-curved waist accented with a diamond belt buckle. A diamond necklace and bracelet fell perfectly at the neckline and the end of the sleeve, respectively, and a sleek chignon, heavy eye makeup, and vivid red lips were just the right finishing touches. Chef's kiss, mwah! 

Ariana DeBose wore a white and silver art deco-style sheath with square shoulders, a deeply plunging neckline accented with rhinestone bands, sheer gauntlet sleeves, a thigh-high slit, and a double train of a slight puddle train on the skirt of the gown plus a long chiffon scarf-style train falling from the hip. Beautiful, graceful lines. 

I'm not always a fan of Kerry Condon's red carpet fashion, but she did a very nice job with this soft yellow chiffon gown with its simple, fitted-to-the-hip bodice and full skirt with short train. The yellow isn't the perfect color for her, particularly with her somewhat brassy blond hair (if she ever goes brunette I'd love to see this gown on her again), but it's still lovely. 

Vivienne Westwood

Elizabeth Banks teetered on the edge of overdone in a black-and-white ballgown with asymmetrical shoulders, large looping bows at one shoulder and the opposite hip, narrow train falling from the waist, and a wider train formed by a white underlayer. The hem of the underlayer was decidedly too long, both looking awkward and causing her to trip onstage, and the bows were a little too bulky, but the general concept was good and simply cutting down on the volume and shortening the underskirt would have made this a terrific look.  

Zuhair Murad

Eva Longoria's gown was not dissimilar to Ariana deBose's look, but it was a little less successful. The open neckline was too broad and could have benefitted from the jeweled bands deBose used to fill the swath of bare skin. I also disliked the sheer triangular panel framing Longoria's navel and the sunburst gathers at the crotch. The dropped detail brings the eye down, making the already petite Longoria look even shorter. The lines of the sunburst were lovely, and had it been raised to fall at the waistline and eliminate the triangle, it would have been a much more flattering look. I did like the pearl collarband and the slightly puffed sleeves, so with a few tweaks this would have been a nice look. 

Overall, there were a lot of lovely looks and only a few that were truly off the mark. And I do like that a lot of different designers were featured, including a few that I was less familiar with or don't see often. And I do love it when a single design house provides very different looks instead of all variations on the same theme. It was a good night for fashion!