2025 Oscars Recap
A Wicked finish to awards season
The grand finale of awards season. I say it every year but next year I think is finally going to be the year I get through all the Best Picture nominations ahead of the big ceremony. I can feel it! Until then, I was refreshing the red carpet constantly on Sunday as celebrities arrived at the Dolby Theatre in Los Angeles, CA for the 97th Academy Awards.
As always, I was most struck by the looks that had a story or that aligned with the red carpet trends I find most compelling. (And perhaps a few I thought were simply too divine not to mention.)
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🏆 Awards Recap: In case you missed my roundup of favourites from the Golden Globes!
I know that there may be conflicting feelings about “method” dressing from film stars. But I, for one, love the commitment to the bit. All awards season and promotional tour-long, the two stars of Wicked have paid homage to their respective characters. But this! What a finale.
A trophy each for both Ariana and Cynthia’s stylists, Mimi Cuttrell and Jason Bolden respectively, because this was a beautiful way to round out each of their appearances for Wicked. Their looks were the perfect complement to one another, yet somehow each stood out dramatically on their own. A pair of “Defying Gravity” moments that really were … dreams the way they planned them … to truly work in tandem. 🎵
Ariana Grande in Schiaparelli Haute Couture
My first thought upon seeing Ariana’s duchess satin Schiaparelli gown (based on a design from the Spring 2025 Haute Couture collection) was it was a stunningly sculptural take on Glinda’s bubble. Mostly thanks to a reported 190,000 crystal sequins on its structural clam-like peplum (yes peplums are back!). The juxtaposition of the bustier and the glittery skirt feel so fantastical and ethereal. Perfect for the world of Oz! The gowns’ original inspiration was an Alberta Giacometti lamp designed for Elsa Schiaparelli herself in the 1930s that was described as “blurring the boundaries between sculpture and object” which this dress most certainly is.
Cynthia Erivo in Louis Vuitton
Cynthia’s velvet gown was, in her words to E! On the red carpet, “a nod to Oz, a nod to the green, and a nod to old Hollywood.” The shade was dark enough to pass as black at first glance which, indeed, felt like an elegant reference to Elphaba’s cape and robes in the film. But that beautiful, rich dark green colour came through when the light hit it. Magnificent. This look is a study in shape. So many design choices were made to elegantly frame Cynthia’s features like a work of art. Starting with THAT BOW. As a lover of a bow of any shape or size, I was delighted to see one this dramatique and structural that flowed into that stiff, standing collar.
I’m so glad that the pair of them didn’t let the moment pass them by for one final coordinating “pink goes good with green” moment. Until the theatrical follow up release of Wicked: For Good later this year, that is.
… Of course I couldn’t not mention their performance outfits as well.
Both Ariana and Cynthia arrived early to the red carpet in order to have time to change for their ceremony opening number which paid beautiful tribute to the entire universe of Oz over the course of its three major film instalments (The Wizard of Oz, The Wiz, and Wicked).
Ariana Grande in Schiaparelli Haute Couture (again)
Ariana started the performance with a solo rendition of “Somewhere Over the Rainbow” which many will recognize from the original 1939 film. Appearing in a glittering red skirted gown by Schiaparelli, the colour was a nice change to demarcate this look from her string of Glinda!Pink ensembles - while still being appropriately Oz-themed. The reference to Dorothy’s ruby slipper was obvious from the colour alone, but the best part was when she turned around to reveal a 3D trompe l’oeil vintage shoe attached to the back of the dress.
A perfect reference to the film while also giving us Schiaparelli’s signature “strangeness.” I immediately understood the reference to the Fall 2024 Couture collection, when creative director Daniel Roseberry sent a pink silk duchesse number down the runway with high heel-shaped bustier cups.
Make something beautiful and thematic and intentional that’s also steeped in a brand’s historic fashion codes. This is how it’s done! I loved the video (above) from Schiaparelli with details on their take on the ruby slipper.
Cynthia Erivo in Vivienne Westwood
Cynthia then came in for her own solo with the song “Home” from The Wiz in a white corseted and floral number by Vivienne Westwood. The colour, the delicate cascade of flowers, and the overall sense of soft structure was a break from her darker Elphaba looks. I personally saw the gown as exploring the softer side of the character. I had visions of enchanted forests from the florals and the dusty green ombré applied to the hem of her tulle skirt. With that on the brain, my first thought was of the touching “I’m Not That Girl” performance from Wicked. And also how in the original Wizard Of Oz that Dorothy’s journey home necessitated walking through unknown mystical forests in order to come out the other side. The gown itself was inspired by Westwood’s ‘Bagatelle’ gown, first seen in the Spring 1997 collection. Of course, Cynthia’s modernized version is bigger, better, and flowerier.
The two stars then joined together for a transcendent, truncated performance of “Defying Gravity” to round out their tribute medley to the history and world of Oz.
Another trend on red carpets, besides method dressing, has been archival pulls. Either by literally pulling vintage gowns from a designer’s respective vault. Or by current creative directors reimagining and paying homage to historic dresses in their house’s history with a fresh modern twist. These were the cases, respectively, for Scarlett Johansson and Doja Cat + Elle Fanning (plus Cynthia Erivo above) at this year’s Oscars.
Elle Fanning in Givenchy
Elle Fanning’s white lace gown was our first look at the work of the brand’s new creative director Sarah Burton. Burton was famously once the creative director at Alexander McQueen following his passing in 2010. Her first collection for Givenchy will debut this weekend during Paris Fashion Week. To Vogue, Elle said, “Sarah has become a dear friend and collaborator. This year marks my first time ever attending the Academy Awards. And it’s an honour to be the first woman to wear a Sarah Burton couture Givenchy design.” With this in mind, I thought Burton paying homage to Givenchy’s history with this modern reference to his very first ever show from Spring 1952 was a smart one. A great way to establish she’s a student of the brand and prepared to be referential and also new. “I’ve been looking at the very beginning of the house of Givenchy, with its stripped-back modernity, it naturally felt the right direction to go in,” Burton said to Vogue of the design. Personally, as established, I - a lover of a bow - was so happy to see this take on a Hubert de Givenchy design. BOWS! The added train, that interestingly appeared to attach above the waist, also felt like a lovely and appropriately vintage element for the dress.
Doja Cat in Balmain
Meanwhile, Doja’s gown was a modernized recreation of a Pierre Balmain Haute Couture gown from 1953. Its shining trompe-l’œil embroidery, which took 46 artisans 5,600 hours to meticulously sew, was meant to mimic the pattern of an ocelot. Balmain creative director Olivier Rousteing made slight updates to the neckline from the original design (seen in the above gallery). Doja’s version featured a sweetheart plunge styled with a trendy neck scarf that was, according to Doja’s stylist Brett Alan Nelson, being sewn up until the last minute. The accessory does nod to the popularity of neck scarves as of late, though I do think its addition obscured the necklace she also wore underneath. One or the other might have been the better styling call to let one element shine. But one can’t deny the incredible fitted silhouette which Nelson said was meant to bring the “80s essence” of Doja’s most recent album to life.
Scarlett Johansson in Thierry Mugler Haute Couture
Lastly, Scarlett’s gown - a velvet navy cowl design - came from Mugler’s Fall 1999 collection. The minimalist design proved that a good fit can be everything. I also loved the pared back jewelry styling from the original runway which featured both a double stacked choker and arm cuff.
+ Margaret Qualley in Chanel
My other “vintage” honourable mention goes to Margaret Qualley in this black velvet number from Chanel which originally hailed from the Spring 2005 runway. Raise your hand if you can’t believe 2005 was *20* years ago. As a Chanel ambassador, Margaret has worn a number of looks from the French fashion house and this is certainly one of the nicer ones.
The most notable part had to be the Chanel ‘Motif Russe’ necklace styled to cascade down the open back of the dress. It was this moment that gave me an aha! as I was immediately reminded of my recent conversation with Sam, a major fashion house illustrator. During our chat, she noted the importance of an illustration’s pose reflecting the most notable aspects of a garments’ design. “If you have a dress that has a plain front but has a beautiful embellishment in the back or a long train, of course I’m going to draw it at three quarters,” she said.
✏️ Fashion, Illustrated: I spoke with a fashion illustrator with a decade of experience working for a major fashion house. I learned so much about the behind-the-scenes process of bringing a garment to life. Our conversation below, icymi.
Intricate, bejeweled crystal work was the theme for this pair of looks that I just loved on the red carpet.
Demi Moore in Armani Privé
Demi proved the immaculate power of tailoring. Armani Privé truly never misses. While there are some dresses that are designed for a turn around “back” moment (see: Margaret Qualley), I think Demi’s was built for a quarter turn shot.
The sculpted detailing at the hips really popped when photographed from an angle but especially in motion as seen in the above video by Demi’s stylist Brad Goreski. She looked truly divine.
Selena Gomez in Ralph Lauren
Major props to Selena who I think has been on a hot streak this awards season, delivering hit after hit. Her stylist, Erin Walsh, told E! News that her gown was inspired by Sophia Loren, whose former tailor consulted on the meticulous lattice crystal work on this gown. A total of 16,000 drops of airbrushed glass were handsewn to create the look. It fits her like a glove!
Of course, I also can’t help but think of Taylor and her Academy Awards-adjacent style. Especially when I saw two of her Eras Tour dancers were part of this year’s ceremony performances. Taylor has never attended the ceremony itself - yet! Fingers crossed she will in the near future given her pending feature film directorial debut. You’ll recall we first learned about this project, featuring an original script that she also wrote, back in 2022.
But until that time, we can look back on Taylor’s attendance at one of the awards’ most well-known after parties: the Vanity Fair After Party. Taylor has attended this particular event on three prior occasions in 2011, 2014, and 2016.
2011 in Zuhair Murad Spring 2011: The only mini of her three appearances — and a great one, at that. As a proponent of the bare neckline, I love the restraint to not include a chain. Her faux-bob here reminds me so much of this time period in her career. It’s one of the more fun (and powerful) elements of Taylor’s fashion evolution - being able to pinpoint when a photo was taken by her clothes or her hair. She wore her hair pinned just like this on a number of occasions for what looks like a vintage feel during the Speak Now era. That includes the “Mean” music video which came out a few months after this appearance in May 2011.
2014 in Julien Macdonald Fall 2008: A different look than we’re used to seeing from Taylor thanks to what appeared to be a slightly darker and less true blue red lip plus a smokier eye look. The best part of this gown was the sheer panelling that took up almost the entire back.
2016 in Alexandre Vauthier Spring 2013 Couture: Still to this day one of my all time favourite red carpets of Taylor’s. Quite easily in the Top 10. In my original caption I noted, “There is absolutely nothing I would change.” Almost a decade later - I still stand by it. Just perfect. Especially those strappy, minimalist heels - which I’m a sucker for.
Funny how all three of Taylor's official Vanity Fair red carpet photos are with short hair. Also I'm still in awe of the 2016 look, it seems so bold and brave for 2016 Taylor and all * that * entailed
Ariana’s dress is spectacular! A sweet and structured high note to end the awards season. 💖 My second favorite is Halle in that stunning Christian Siriano. There were so many silver gowns this year that I initially thought it was a coordinated effort. 🪩