It's awards season, and the red carpet events are coming hot and heavy! Last night was the 2024 Primetime Emmy Awards, and much like the recent VMAs, the majority of red carpet ensembles fell into a few distinct categories. In the case of the Emmys, those categories were colors: Basic Black (and Midnight Blue), Reds and Pinks, and White/Silver/Grey. And again, like the VMAs, there were also a few looks worthy of mention that didn't fall into any of those categories, so I'll end with a Miscellaneous group.
Brie Larson wore a tea-length vintage style gown with black and crystal beading on the narrow straps and across the top of the bodice, as well as spangling the bodice and double-layered peplum. The dress had a wide black satin sash that tied in a bow which was charmingly echoed in her diamond bow bracelet. The look was simple and charming, but I would have loved it if she added a small diamond pendant necklace - or, even better, a pendant with a pop of color, like ruby or emerald. But it was still a lovely look.
Caroline Ribeiro was stunning in a sleeveless, single-shouldered black column topped with a wide swath of ivory that edged the bodice then wrapped across her throat and fell into a capelet over her shoulder. The lines were elegant and graceful, and her delicate diamond jewelry was the perfect finishing touch.
Red and Pinks
Aja Naomi King wore a blush pink ruched minidress with lots of fabric flowers across the bust, paired with a super-full chiffon skirt at the back only. I loved the way the skirt was edged with a lettuce finish, but it was too voluminous at the waist, making the whole look feel unbalanced. A slightly longer dress and a little less volume in both the rear skirt and the flowers, and this would have been a great look.
Amber Chardae Robinson opted for a satin gown made of variegated shades of deep pink, with fantastical "wings" jutting out in front of the bodice, and a straight underskirt with a fuller, pleated overlay of solid color pink satin. I loved the delicate flower and vine detailing on the bodice and underskirt, and the delicate diamond jewelry. Robinson has the carriage to carry off the oversized bodice without being overwhelmed by it, and the result is magical.
Anna Sawai wore a cherry red trumpet gown with a plunging bodice with tiny, angled straps that was fitted to just below the hip, where it flared into a short ruffled peplum and then an A-lined skirt that skimmed the floor. The lines were severe, but the hint of ruffle in the peplum and the way the hem floated above the floor softened the effect for a lovely result.
Gillian Jacobs wore a two-piece column which was great in concept, but looked poorly fitted. The column skirt had a wide slit and seemed to be well-tailored, but the strapless top, which seemed to be intended to be tailored to her figure, looked a bit loose and baggy. I loved the buttons up the front, the double-needled princess seaming, and the way the lower edge flared out from her hips a bit, but the top looked loose and puckered across the bust and waist, as if the designer didn't quite have time to finish it (
Project Runway, anyone?).
Gina Torres looked fabulous in her one-shouldered bubblegum pink sheath, which featured a capelet falling from her shoulder and a deep side slit. I loved the way the fabric gathered at the waist and draped over her shoulder and across her hip, creating graceful lines, as did the angled, almost ruffled edge of the capelet. Her stacked bracelet and ring and curly updo all added to the class and grace of this look.
Hannah Einbinder wore a dusty pink, Grecian-style dress. The chiffon skirt was full and had a slightly dropped waist, ending in a tiny train. The bodice was topped with shiny fabric that draped across the front and over one shoulder. It was an interesting look structurally, but the color was not right for her, and her center-parted, flippy bob was at odds with the style of the dress. Not a bad look, but it definitely need to be styled differently, and in a better color for her.
Isabella Star Lablanc wore a wrapped off-the-shoulder red satin gown with large rosettes at the bodice, which was also draped with a swath of satin, and a short front slit in the column skirt. I loved the way her beaded bag tied in to both her native American heritage and the rosettes on her gown, and the white feather in her hair and white leather-and-bead necklace tied all the accessories together.
Janelle James wore a voluminous one-shouldered cherry red gown with a large ruffle down the bodice that cascaded down to join the ruffled hem of the skirt. It was a lovely silhouette, but the ruffle was a little too voluminous, and the skirt was a lot too voluminous. Trim down the whole thing, and this would have been a look where you notice the wearer and not just the dress.
I'm not generally a fan of bubble skirts, but Keltie Knight does it just right in this red taffeta, off-the-shoulder, two-tiered bubble skirt gown. Although the bodice is a little tight, I love the diagonal lines created by the crushed fabric, and the twisted shoulder loops. The narrow self-belt nips the silhouette in at the waist, and the bubble hem at the knee is narrow enough to stay in proportion, echoing the small flare of the floor-length hem, with just a hint of train at the back. Minimal accessories and subtle hair and makeup let the dress shine without taking over.
Meryl Streep is often a mess on the red carpet, but this pastel pink suit isn't half bad. I could live without the matronly bow blouse, but I love the square shoulders of the double-breasted jacket and the wide sleeves which echo the wide-leg, high-waisted pants. Her large silver hoop earrings also echo the circular silver handles of her slightly paler pink bag. Way to go, Meryl!
Nava Mau's wet-look red sheath gown was structurally fascinating! It was made from vertical panels of fabric that jutted forward from the bodice to form a kind of twisted lapels above her shoulders, and flared below the knee to form a short train. I loved the way the light caught the fabric. Her red-and-white y-shaped necklace filled the neckline perfectly, and the sparkly silver platform sandals with a peep of bright red toenail polish were adorable.
Niecy Nash-Betts went for a deep brick red gown that combined a clingy chiffon base gown with a satin swath that covered half the bodice and then cascaded to the floor in a long train. I loved the asymmetry of the bodice with both the contrasting fabrics and the one-up-one-down straps, and well as the visual contrast of the shiny and matte fabrics. It was a beautiful and interesting look.
Rita Ora's pale pink gown was reminiscent of a 1940s boudoir set, pairing a strapless, bias-cut flared gown with a sweetheart neckline with a frothy marabou-edged wrap. It was almost a little too simple for my taste, but the fabric of the gown that drew in to a starburst pattern at the waist, combined with Ora's pseudo-marcelled side curls, created a timeless vintage look that I loved.
Sofia Vergara wore a gravity-defying red gown that was tightly fitted from waist to hip, then cascaded into a softly full skirt, with a widely spaced modified sweetheart bodice. I didn't love the wide space between the two parts of the bodice, particularly since the lines created by the way the fabric was crushed made it look like her breasts were being pulled away from each other. But I absolutely loved the lines that were created on the rest of the bodice, as it plunged to a v mid-hip, with the fabric wrapping the hips creating more horizontal lines that joined the v. Add two narrow ribbon bands between the halves of the bodice, and this look would be out of this world.
White/Silver/Grey
Carrie Coon's white dress was like a Frankenstein's monster, with parts taken from a Star Trek uniform, a trench coat, and a shower curtain. It was even pieced together of different types of fabric, stitched together with large zigzag stitches on the outside, and lots of raw edges showing. I actually liked the lines of the bodice, but the casual fabric and unfinished construction style was just awful. Coon deserves better.
Catherine O'Hara was radiant in a nude gown overlain with sparkly silver embroidery in the shape of rosettes. The gown featured a high round neck and long sleeves, with just a hint of a flare to the skirt. It was a simple silhouette which provided a nice balance with the busy pattern of the fabric, and O'Hara's accessories of a teardrop-shaped necklace with a deep brown gem and matching earrings, along with a simple gold clutch, were just right.
Dakota Fanning wore a silvery-white empire-waisted silk gown with a sweetheart neckline and crushed fabric on the bodice that twisted at the center to form a pleat that fell softly to the floor. The fabric was studded with pearls, which created some nice texture. My only objection was that the color was so close to Fanning's skin tone that it disappeared against her skin. I would have loved a hint of ice blue or even deep pink trim along the neckline and perhaps down the front pleat that would have created a border between the gown and her skin. But still, a lovely look on her.
Desi Lydic wore a pure white sequined gown with thigh-high slits at both sides and a large diamond-shaped cutout at the front of the bodice. I liked the seaming across the bodice, which created a v-shaped panel topped with diamond shapes forming the top of the bodice. I didn't love the way the super-high slits caused the front and back of the skirt to hang like flat panels, but that's a minor quibble in what is otherwise a fine look.
Devery Jacobs combined a basic ivory tuxedo with a frothy tulle overlay consisting of a multi-tiered ruffled skirt which for some reason attaches just below the bust, and a ruffled cape at the back. I'm not sure what the point of adding the tulle was, but it could have been an okay look without it. With it, it's a downright terrible one.
Diane Lane wore a plain white column with a jewel neck, long sleeves, and a narrow self belt. The neckline and belt are both embellished with beading, but the overall look is still boring.
Greta Lee wore a white lace shift-style halter with a twist of fabric forming a cowl collar. Despite its somewhat shapeless silhouette, it moved well and didn't overwhelm Lee's slight figure. I loved the pop of color in her large sapphire earrings, and her center-parted, straight sleek hair was nicely in keeping with the rest of her look.
Holland Taylor wore an ivory suit with tapered pants and a cropped, double-breasted jacket accented with a diamond brooch on each lapel, over a shimmery silvery-white straight-edged camisole. She looked tailored and elegant.
Janine Rubenstein's white dress, like many others, used lines of crushed fabric and seaming to create visual interest. This bodice had lines that swept up from the hip to the shoulder, then across to the opposite shoulder, with loose halter straps and a single strap draped over one shoulder, and the straight skirt was softened by a pleated panel that feel from one hip to form a short side train. The draped fabric skimmed her figure loosely rather than being overly snug or fitted, which made the gown look comfortable as well as flattering. I would absolutely wear this dress.
Jennifer Aniston went with a formula we've seen her in dozens of times: a basic strapless column made interesting with an unusual texture or print. In this case, it's a fabric encrusted with teardrop-shaped pearls forming a seashell pattern. It's impeccably tailored to her figure, and her wide diamond bangle and straight, simple hairstyle are all the accessories needed. There's a reason this is her go-to style.
Leslie Bibb looked fantastic in a clinging white halter gown embellished with loops of pearl beading. The super-straight lines were flattering on her slight figure, and the loops swung like fringe as she moved. Long but simple earrings, a delicate diamond bracelet, and side-swept blond waves completed her wonderful look.
Lety Shahagun wore a white dress that was also simple, but less successful. The silhouette of the skirt was fine if boring, but the bodice had a high jewel neck, broad shoulder seams that extended past the natural point of her shoulders, and angled fabric that made her shoulders appear not only broad, but very sloped. It was not a flattering cut for her.
Lisa Ann Walter topped her strapless white column with its thigh-high slit with a wrap of chartreuse satin that angled across the front of the bodice, then wrapped to the opposite hip before flaring down into a short train. I loved the graceful lines, and the unexpected pop of color worked beautifully with her gorgeous auburn hair. Loved it!
Nicola Coughlan wore a metallic silver two-piece gown that had a similar silhouette to the red gown worn by Gillian Jacobs. However, Coughlan's worked much better for me, due to its impeccable tailoring. The bodice, which in this case has a portrait neckline and princess seams, is perfectly fitted to Coughlan's body until it flares into a bell shape at the hip. Note how smooth the curves of the top are, compared to Jacobs' top. The straight skirt then falls to the floor in a clean line. The width of the bottom of the bodice is perfectly proportioned to keep her figure balanced, which is not an easy feat on a curvy figure. But she looks amazing in this outfit.
Padma Lakshmi wore a tight-fitting off-white sequined strapless gown. Lakshmi would look gorgeous wearing a brown paper bag, but I was disappointed at the fit of this gown. The darts were lumpy, the fabric pulled awkwardly under the bust, as if she needed more support or structure, and the dress wrinkled across the hips because it was a little too tight. Good concept, poor execution.
Tazbah Chavez wore a white suit trimmed with bands of satin ribbon in ivory, gold, burgundy, and black on the jacket cuffs and pants hem. I loved the wide pantlegs and corresponding wide jacket sleeves, and the ribbon trim was absolutely stunning. But I didn't like the complete lack of a shirt. I would have loved a low-cut cami trimmed in narrower version of the ribbons, or a spangled bra in one of the colors, or even no shirt but with the jacket loosely buttoned. But the bare skin with the unbuttoned jacket was a little too naked for my taste.
Ella Purnell wore a sleek gown made of metallic silver chainmail-style fabric with a plunging neckline. The silhouette of the dress is great, and I loved that the neckline was finished with a wide band of fabric made from slightly larger metallic circles, which subtly changed the texture, and I loved the curved seam below the bust. But the seam was a little too low to be an empire waistline and much too high to be a natural waistline, and since the hem was also about an inch too short, the dress felt poorly fitted on her.
Jacqueline Novak wore a strapless grey taffeta dress with really interesting construction. I loved the angled seaming of the bodice, and the bow with wide tails that extended out at the top of the bodice. I even loved the way the skirt was gathered at the waist, with ah inverted center pleat, and then tapered at the bottom to create an unusual silhouette. But the fabric was horribly wrinkled, which ruined the beautiful lines. I'm sure this look was fabulous on the runway, but after riding to an event in the back of a limo, it lost its charm.
Katie Aselton wore a dark silver, form-fitting, crinkled gown with a plunging bustline. Asleton's gown avoided the problems I had with Sofia Vergara's similarly-shaped bodice, simply by slightly adjusting the angle of the crinkles to be more vertical than horizontal, and by adding tiny straps - even though the straps don't join the two sides of the bodice, as I suggested for Vergara. The overall lines of the gown skim Aselton's figure softly, floating away from her body at the hem and train, but clinging firmly in the bodice and hips.
Kristen Wiig wore a metallic silver strapless ballgown in a basket-weave pattern studded with tiny flowers. I loved the naturally pinked edges at the top of the bodice and the hem of the skirt that resulted from the weave, and I loved the graceful bell shape of the skirt. It was a classic silhouette that used the reflected light from the shine and texture of the fabric to come alive. I would have loved a slightly dressier hairstyle, but it was a wonderful look, nonetheless.
Miscellaneous
Abby Elliott wore a strapless ice blue chiffon gown with a slightly full skirt and a floor-length sheer cape. Simple, and lovely.
Ajwa Aljoudi wore a burnished gold silk column with princess seaming and a black drape across the throat and down the back. It was simple, but elegant.
Ayo Edebiri wore a strapless sheath with a thigh-length slit in a shiny orange, black, and yellow print. It was sweet and cheery, and I would love to wear that dress to a party (especially if I looked like that while wearing it).
Christine Baranski was beyond stunning in a shiny gold silk column with large silver and black flowers, with a few near the hemline with specks of red. The bodice featured a wrapped front that circled the shoulders, then the gown fell in a sleek line to the floor. But the crowning glory was Baranski's vivid red satin pointy-toed kitten heels with diamond buckles. *chef's kiss*
Da'Vine Joy Randolph wore a one-sleeved apple green wrapped gown with a hood and a short train. I didn't love the way the single sleeve caused one side of the bodice to look droopy, but on the whole, I loved the lines of this dress. The color is spectacular on her, and the pair of silver snake chokers fill the neckline to perfection.
Karen Pittman wore a black strapless column with a pink floral print, accessorized with elbow-length black satin gloves, a stunning diamond choker, and soft, sideswept curls. Lovely.
Kit Hoover wore a draping caramel-colored chiffon gown with an empire waist and plunging neckline. It was simple and flattering, but somewhat forgettable.
Kristin Scott Thomas wore a tea-length lilac silk shift dress with a gathered neckline, cap sleeves, and an attached cape. She accessorized with mauve opera gloves, a gold clutch, and gold kitten heels with metallic gold accents. I would have preferred for the dress to be floor-length, as the style didn't feel right for the more casual shorter length, but it was still a very nice look.
Liza Colon-Zayas looked terrific in a vivid green print off-the-shoulder gown that gathered at the hip and had a tiny train. The busy print was well-balanced with the simple cut, and the softly draped lines were flattering.
Maya Rudolph wore a coffee-colored sleeveless, round-necked, chiffon gown with a ruffle running down the front and around the hem, topped with a sheer hip-length cape with a matching ruffled edge. My favorite part of her look was the jeweled snake necklace that lay perfectly along the neckline of the cape. Rudolph has struggled in the past finding the balance between modest and matronly, and this look is definitely headed in the right direction.
Naomi Watts wore one of my favorite looks of the night, a deep emerald green satin gown in a very traditional cut. The strapless bodice features a wide horizontal panel that falls to the floor at the back, and the A-line skirt is finished with a short round train. Although it is a tiny bit wrinkled, the wrinkles fall in flattering lines, rather than emphasizing any tailoring issues. I would love to wear this dress.
Nischelle Turner wore a peach satin gown with a corset top and a skirt consisting of two fitted bias-cut panels reaching the knee and a full skirt with a short train below. I love the angled seaming on the bodice and the curved lacings at the hips, and how perfectly the skirt skims her body until the skirt flares out. It's a gorgeous color and style on her.
Reba McEntire shows us how to wear a suit on the red carpet in an emerald green paisley-patterned tuxedo with wide-legged, flared pants and peak lapels, over a sparkly silver cami, accessorized with three diamond starburst brooches, a pair of emerald rings, large diamond stud earrings, and a casual updo with lots of wavy tendrils.
Sarah Paulson. Oh, Sarah Paulson. Let me say again: Please get a new stylist. I know this look is Prada, but it's still ugly and unflattering. The cobalt blue is gorgeous on you, although the jewel neckline combined with the flared above-the-elbow sleeves is doing you no favors. But the black-and-white underskirt? I feel like you're being punk'd. But do hang on to your hair and makeup person, because you look fantastic from the neck up.
Viola Davis is one of my red carpet favorites, so although I would probably have loved this look on anyone else, I feel like she could have done - and usually does do - much better. While I love the silhouette, and the details of the twisted waist and criss-cross neckline, the black and white combo is not working for me. I would prefer this gown in all black, all white, or any solid jewel tone. That said, she still looks great. She just could have looked better.
Zuri Hall rocked this simple chocolate brown satin halter column. The shade was just dark enough to contrast with her skin, and the pleats in the bodice catch the light to create shape and visual interest, but then the straight skirt looks sleek and smooth. Very nice.
What was YOUR favorite look of the night?
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