At last: Zendaya's The Drama press tour has touched down in New York City, along with a new batch of fresh-from-the-runway looks. First, she went on Good Morning America in a floral blazer-turned-dress from Erdem. After her April 1 interview, Z greeted fans in another "something new," featuring Erdem's take on the feather trend.

Stylist Law Roach's latest pull for Zendaya was less "wedding dress" and more "red carpet trend remix." The mini combined a black-and-white tweed funnel jacket up top with a skirt full of coordinating plumage. Their stark white tufts were a perfect shade match to her Christian Louboutin So Kate stilettos—and the other bridal neutrals Zendaya has worn to premieres across Paris, L.A., and Rome.

Zendaya is usually a minimalist outfit enthusiast while off-duty. With a touch of feathers Roach can make her a maximalist in an instant—and he's been doing it for years. Back in 2018, yellow-and-pink feathers made the Euphoria star's already-vibrant Marc Jacobs gown even more extravagant. More recently, she promoted Challengers in London with a Carrie Bradshaw-inspired feather bustle, courtesy of Vivienne Westwood. Zendaya even attended a 2025 Met Gala after-party with a feather shawl dangling from her elbows.

It seems Hollywood is finally catching up with Z's affinity for the feather trend. They were all over the 2026 Vanity Fair Oscar Party red carpet, thanks to Olivia Rodrigo, Demi Moore, Rita Ora, and more. Moore, for one, wrapped an equally-glamorous feather coat around an off-the-shoulder Balenciaga gown. Each plume was so pronounced, her base look was barely visible. Meanwhile, a feather-trimmed skirt added a "wow factor" to Rodrigo's pink, micro-mini dress from Saint Laurent, and KPop Demon Hunters star EJAE trimmed her Dior Fall 2026 gown with a row of vanilla feathers.

Feathers dominated the Vanity Fair party's accessories department, too. Rita Ora kept her quills atop a wide-brimmed, Pamela Anderson-inspired hat, which complemented her black-and-teal naked dress.

With Chanel, Dior, McQueen, Balenciaga, Mugler, and more designers getting in on the feather craze, Zendaya and Roach could keep the trend alive until her final press tour of 2026, Dune: Part Three in December. Before then, the style muse's "something blue" for The Drama's New York City premiere could even be of the feather variety, too.

Earlier this month, Zendaya debuted her Vivienne Westwood dress from the 2015 Oscars as The Drama press tour's "something old." When the wedding dramedy’s Paris premiere called for "something new," Zendaya and stylist Law Roach sourced the designer that's been dressing her in bridal white for years—Louis Vuitton—and red carpet trends approved by the industry’s best-dressed leading ladies.

Once it came time to step-and-repeat, Zendaya traded her daytime button-down shirt outfit for the envy of any minimalist bride. Creative director Nicolas Ghesquière crafted the long-sleeve, column gown just for her, starting with a high, shoulder-padded neckline. (The Louis Vuitton leader designed another white, wedding-worthy gown for her last Paris premiere, 2024's Challengers.) Subtle, vertically-seamed darts atop her cinched waist added the stark white shade's only texture. Once Zendaya turned around, her bridal-adjacent dress took a bold turn.

Plot twist: Zendaya's entire back was on full display, thanks to a square-shaped cut-out beneath her high neckline. An oversize, black satin bow acted in lieu of a veil, which she hasn't tested beyond the mid-wedding set of The Drama (that we know of). Each end of the bow-tied ribbon—a persistent 2026 wedding dress trend—cascaded behind her like an elongated train. To finish, a slit up the column skirt's back revealed matching Louis Vuitton pumps. That's right, her beloved Christian Louboutin So Kate stilettos earned an evening off.

And just like that, Zendaya's east-west, Jessica McCormack engagement ring went back into hiding. (It was her plus-one at the L.A. premiere, though.) Instead, David Morris's Le Jardin Wild Flower Necklace was her jewelry suite's centerpiece. How couldn't it be, with five cascading rows of 22.5-carat diamonds? The multi-tier design's estimated $210,000 price tag beat her engagement ring by about $90,000. To match her brilliant-cut, diamond stud earrings, Zendaya added one final, six-figure David Morris necklace to the mix.

The undertones of Zendaya's two-tone number are purely bridal, but it also endorsed a burgeoning red carpet trend: black-and-white gowns. Similar grayscale combinations were the star of 2026's award season circuit. It started gaining traction at the Golden Globes, when Selena Gomez and Charli xcx stacked the shades on top of each other in Chanel and Saint Laurent, respectively.

Blackpink's Lisa and Olivia Dean picked up where the Golden Globes left off at the 2026 Grammys in black-and-white Saint Laurent and Chanel. Once the Actor Awards rolled around, Jessie Buckley, Quinta Brunson, Demi Moore, Dove Cameron, and Michelle Monaghan declared the color combination a bona fide fixture of 2026 fashion.

Black-and-white dresses even got a close-up at the 2026 Vanity Fair Oscar Party, Hollywood's second buzziest red carpet of the year. Julia Fox, for one, arrived in a white Viktor & Rolf couture gown, featuring sculptural sleeves that stretched far beyond the bodice's black floral appliqués. Then, Tracee Ellis Ross showed out in a Marine Serre Spring 2026 dress. What began as a skintight, black turtleneck transformed into an ultra-ruffled, stark white skirt.

With how consistent black-and-white dresses were this award season, there's no way the trend would've disappeared with the final acceptance speech. Here's hoping Zendaya will keep its legacy alive at future The Drama premieres. Black against white fabric is all but made for a thriller about a bride with a dark secret, right?

Some stars spent Oscars night vying for the best-dressed list on the official red carpet; Bella Hadid secured her spot during the late-night circuit by bringing Charli xcx's circa-2016 hit, "After the Afterparty," to life instead. Once the 2026 Vanity Fair Oscar Party died down, Hadid zoomed to another A-list affair in a vintage, after-hours naked dress.

Just like Taylor Swift and Travis Kelce, Kylie Jenner and Timothée Chalamet, Kim Kardashian, and more, Hadid scored an invite to Beyoncé's annual, post-Oscars Gold Party at Chateau Marmont. Her plus-one? An archival little black dress from Roberto Cavalli. (Her custom Prada skirt set already had its moment on Vanity Fair's red carpet.) Stylist Mimi Cuttrell was likely drawn to the sleeveless style's semi-sheer features. Hadid and the naked trend have always been attached at the hip, after all.

Black polka-dots against a transparent mesh underlay bookended the bodice's V-neck plunge. The paneled design became significantly more opaque below her hips. Every square inch either boasted intricate, 1920s-inspired beadwork or camera-catching rhinestones. Her flapper-esque LBD was made for dancing the night away. Just imagine how Hadid shimmered on Beyoncé's celebrity-filled dance floor.

Hadid maximized the dress's '20s nostalgia with an elongated, multi-strand diamond necklace. Clusters of sparklers conjoined atop her collarbone. Even the Ôrebella founder's Prada clutch felt plucked from another time. Similar floral embroidery seen on her dress decorated the black, four-figure purse's satin exterior, too.

As proven by her after-Oscars find, Hadid is especially drawn to Roberto Cavalli's early-aughts attire. (Raffe Vintage—the secondhand boutique behind its pristine condition—confirmed the naked dress's early 2000s roots.) She began collecting the label's Y2K vintage as early as 2019, when she debuted a red Spring 2005 gown at the Cannes Film Festival. That same year, Hadid attended a Saks Fifth Avenue party in a Western-looking two-piece from Spring 2002. After years of opaque picks, it's about time Hadid explored Roberto Cavalli's extensive naked dress catalog.

Shop Naked Dresses Inspired by Bella Hadid

After another award season of swerving joint step-and-repeats, Kylie Jenner and Timothée Chalamet ended his Marty Supreme press run at the 2026 Vanity Fair Oscar Party. Instead of evading paparazzi, the power couple posed arm-in-arm on the after-party's red carpet. Their color palette? Black and white, rather than Marty Supreme orange.

The Best Actor nominee arrived at the 2026 Oscars ceremony solo, before reuniting with a Schiaparelli-clad Jenner inside the Dolby Theatre. We'd seen her skintight, keyhole cut-out gown before—at creative director Daniel Roseberry's Spring 2024 runway show, displayed in pale pink crystals. Her after-party pick, on the other hand, was fresh from McQueen's mannequin.

Sister styling duo Mackenzie and Alexandra Rose Grandquist dressed their star client in all-black: her signature award season shade. (She wore it at the 2026 Critics Choice Awards and BAFTAs, too.) The corseted, halter-neck gown marked her first custom McQueen moment, following years of hunting down vintage.

Black crepe satin was the backdrop for hundreds of intricately-placed, matching beads, according to the British maison. A slashed asymmetrical cut-out interrupted the black beadwork right at Jenner's hip bone. Then, shredded silk chiffon took over around Jenner's knees. Tiers cascaded like feathers past her McQueen "skull sandals" and onto an elongated train. To finish, Jenner popped on the label's Lustre earrings. However, you could barely see them beneath her bombshell waves.

Meanwhile, Chalamet traded his ceremony Givenchy suit for another all-white set, this time with Chrome Hearts tags. Was its leather exterior a tribute to his first matchy-matchy moment with Jenner? Their bright orange Chrome Hearts looks played a major part in Chalamet's Marty Supreme press style. Either way, he left his button-down untucked to match the anti-Oscars energy of his lace-up boots.

Before now, Jenner and Chalamet hadn't walked the Vanity Fair Oscar Party red carpet together. They snuck into last year's invite-only soirée, though. The Kylie Cosmetics founder stole the show in a nearly-naked corset gown from Ashi Studio Spring 2025 Couture. Not only did Chalamet ditch his butter yellow ceremony suit to match, the actor went ultra-classic in a black satin suit and white button-down.

If you can believe it, another award season (Jenner's third) has already come to a close. Yes, Chalamet lost the Best Actor award to Michael B. Jordan, but the couple didn't leave empty handed. Jenner, for one, has become one of Hollywood's stealthiest Fashion Girlfriends. She joined the ranks of Iman, Elizabeth Hurley, and even Carolyn Bessette-Kennedy, all of whom have never toned down their red carpet outfit so a man might shine brighter. With her acting career in its early stages (thanks, Charli xcx's The Moment) making headlines, who knows? The partners could return to an Oscars ceremony or after-party with Jenner as the movie star.

If Zendaya's hair at her rumored wedding to Tom Holland was anything like the sleek bixie cut that she wore at the 98th Academy Awards on Sunday, then I'm for sure adding it to my future bridal mood board.

The actress skipped the red carpet on Sunday night but, as promised by her longtime stylist, Law Roach, she made a surprise appearance during the ceremony when she appeared on stage alongside Robert Pattinson to present One Battle After Another's Paul Thomas Anderson the Oscar for Best Director. In honor of her upcoming wedding film, The Drama (and maybe even her recent secret wedding), Zendaya's look was bridal chic, as she wore a chocolate, one-shoulder gown from Louis Vuitton along with plenty of diamond jewelry (including a diamond Rolex watch I'll be thinking about for a long, long time). Her bixie haircut looked the chicest of all though. After appearing at Paris Fashion Week and the Essence Women in Hollywood Awards with her short cut styled in its naturally curly state, Zendaya showed up at the 2026 Oscars wearing her hair blown straight with a feathery side bang courtesy of celebrity hairstylist Ursula Stephen.

"We’ve been wearing this cut in her natural texture but thought tonight was the perfect time for a more polished look," Stephen tells MC. "The goal was to achieve a sleek, controlled finish while still maintaining movement and softness throughout the style."

Zendaya isn't the only celebrity to commit to short hair within the last few months. The bixie haircut is slowly becoming the style of choice among women in Hollywood, with everyone from Emma Stone to Lily Collins spending several months wearing it. For the uninitiated, it's simply just a cross between a bob and a pixie, and not only is it the perfect style for growing out a short pixie cut, it's also a convenient style for when you want to shed some length without going too short.

The bixie cut is shaping up to take over pretty much everyone's hair wishlist this spring, and if you're considering making the change, read ahead to check out a few basic styling tips.

This is The Close-Up, where the biggest names in entertainment explain the story behind their latest personal style statement.

KPop Demon Hunters star Arden Cho has spent all of award season reimagining her character's signature colors. Her lavender Vivienne Westwood dress at the 2026 Critics Choice Awards, she tells Marie Claire from her Oscars glam chair, was "very Rumi-coded." Once the 2026 Academy Awards finally arrived, Cho gravitated away from the Best Animated Feature-winner's palette and toward "something more for myself."

The Korean-American actor pauses mid-makeup application to reveal Rumi—the fierce yet vulnerable lead singer of K-pop girl group Huntrix—still had a spot on her red carpet mood board. She questioned, "Do we go purple? Do we go gold? Do we do these things that feel like a nod to Rumi?" in the build-up to award season's grand finale. Ultimately, Cho made her Oscars debut in Korean label Miss Sohee, which honored both her and Rumi's heritage.

Cho shifts her chair to admire "the sculpted corsetry and meticulous hand embroidery" of her Oscars dress. "The first thing I thought when I saw it was, 'This reminds me of a traditional Korean hanbok,'" she says, gazing at the cherry blossom and bird appliqués atop each voluminous, carpet-grazing sleeve. "[Miss Sohee's] work brings in so much Korean heritage and blends it with modern Western couture," she explains. Wearing a Korean designer while KPop Demon Hunters became the first Korean animated film to win Best Animated Feature and Best Original Song was quite literally "historical."

Cho wants this moment to "encourage young Korean girls that we can be loud, bold, and unapologetically take up space," she shares. She calls herself a "shy girl," one that's conscious of being "too much." But with the help of stylist Katie Qian, a first-generation descendent of Chinese immigrants, Cho didn't hold back at the Oscars.

Beneath the moss green sleeves emerges a strapless, nearly-naked gown, which transforms from black lace to bedazzled fishnet-esque scallops. "It has a really sexy, tighter silhouette underneath and then, the sleeves are the drama moment where it feels a bit more grand," Cho says.

It couldn't be more different from her wedding dress, which she started searching for while planning her Oscars look. Trying on endless gowns—both award show- and wedding-worthy—taught Cho about different silhouettes, styles, and "how far to push the fashion and the comfort." Some designs, while glamorous, are made for "standing, not sitting," she laughs. Cho hasn't said yes to a wedding dress just yet, but she'll resume shopping with a new wealth of knowledge. The perks of attending the Oscars are endless, it seems.

No "princess moment" would be complete without a suite of diamonds, courtesy of Messika. "It's so funny because [the collection is] actually called Once Upon a Time," she says. The Miss Sohee gown left her collarbones free to display Messika's Firebird Necklace.

Over 100 carats of marquise-shaped diamonds create the collar-style silhouette, before a detachable five-carat, cushion-cut pendant dangles from the center. "The [matching] Firebird earrings feel really strong and powerful, but they're not too dramatic," Cho adds, as to not outshine her necklace.

Above all, 고급스러워 (gogeubseuleowo) is "the vibe we're going for, which feels elegant, but we didn't try hard," Cho says. A Korean makeup trend called 굽굽 (gubgub) was the cherry on top. "It means being a little baked, but not like what Americans think is a baked makeup style," Cho shares. "In Korea, they're using [toasted], muted, and moody colors mostly for eyes." Makeup artist Sangwon “Sang” Jeon and hair stylist Steven Mason gave the K-beauty trend an Oscars twist with a glossy nude lip and "Hollywood waves," respectively.

Even Cho's getting ready ritual is authentic to her. Her dog, a Pekingese-Shih Tzu mix named Chewy, took breaks from sunbathing to try sitting on her Oscars Miss Sohee. (No wonder the "main character" has 50,000 followers on Instagram.)

If there was any award show to debut her "most elevated" dress, it's the 2026 Oscars. Cho's Miss Sohee did exactly what an Oscars look should do: Stay true to her personal style while embodying the affair's glamour. It also marked the latest chapter in Cho's career of spotlighting Asian designers, including Cong Tri, Le Thanh Hoa, and Sebastian Gunawan.

Miss Sohee's design will always be the gown Cho wore when KPop Demon Hunters made Oscars history. It's only right a Korean creation was her plus-one.

Photographer Ssam Kim | Stylist Katie Qian | Hair Stylist Steven Mason | Makeup Artist Sangwon “Sang" Jeon | Location Hollywood Hills

This is The Close-Up, where the biggest names in entertainment explain the story behind their latest personal style statement.

What should you expect from a best-dressed Oscar nominee when she's expecting at the Academy Awards? For Sinners star and Best Supporting Actress nominee Wunmi Mosaku, her approach to the 98th Annual Oscars red carpet wasn't all that different from her strategy throughout trophy season—even, and especially, while pregnant.

I'm embracing the bump but not dressing just purely for the bump," she tells Marie Claire on Oscar morning, hours before she'll change into a Louis Vuitton dress she describes as "mermaid-y meets Old Hollywood."

All the maternity stuff is always so disheartening, and I feel like it's really hard to feel like yourself when you're pregnant," she says. "So feeling like myself is the most important thing. I did not want to feel like I was trying to hide or like pretend. I wanted to embrace my growing body and celebrate it.

With pulls from stylist Shameelah Hicks, Mosaku has graced red carpets from the BAFTAS (where she won Best Supporting Actress) to the Actor Awards in gowns that didn't compromise her love of an elegant, vibrant look. Bright colors make her happiest, so she's sampled every shade from Ahluwalia's cobalt blue to Matthew Reisman's sunshine yellow.

She's also viewed her red-carpet style as a place to champion the cultures and creatives who support her. In addition to styling the likes of her Oscars Louis Vuitton, "I really wanted to make sure that we're celebrating Black designers too, from everywhere in the diaspora," she says. "I really want to make sure that we keep celebrating and showcasing Black designers because it's a tough industry."

For Oscars night, Mosaku ultimately landed on a deep, emerald green that shimmered in tandem with her David Yurman jewelry. "I want the fabric to just speak for itself and be a talking point in itself," she says. Louis Vuitton's gown was hand-embroidered, coating her one-shoulder, long-sleeve gown with hundreds of tiny luminescent beads.

Her all-over sparkle met the Oscars' demand for high-glamour dressing without making things harder for Mosaku in the final stretch of her pregnancy.

Other Old Hollywood codes, she explains, would have been tough to navigate with a bump. "I love a train, I love a cape, but also those things hinder you when you're moving around—and I didn't know how big I was going to be by [the Oscars]," she says. "I wasn't even sure if I was going to make it to today! So I just went for a design that felt really graceful with ease."

Hair and makeup were the places for Mosaku to bring her Nigerian heritage into the red-carpet mix. "I always want to feel like my texture is being celebrated and my heritage is being celebrated," she explains. Her sculptural up-do by Araxi Lindsey blended "a hairstyle that's kind of traditional in the diaspora with Hollywood, classic shapes."

Mosaku didn't ultimately take home the statuette for Best Supporting Actress. (Amy Madigan, of Weapons, was the winner.) She's walking away from awards season with another accomplishment alongside Sinners' many accolades, anyway: a newfound appreciation for her style, no matter the phase of life she's in.

"I've always felt quite excluded from the fashion industry, and I feel like this is the first time I've felt really embraced by it," she says. While navigating premieres has previously been challenging as "not a sample size," celebrating her critically acclaimed role and her pregnancy at once has opened new doors. "Everyone was really embracing my growing curves and loving it and trying to figure it out together. It's been quite a joyful experience."

Photographer Ashley Randall | Stylist Shameelah Hicks | Hair Stylist Araxi Lindsey | Makeup Artist Uzo | Location Beverly Hills Hotel

Love Story star Sarah Pidgeon waited until Episode 7 dropped to wear something custom from Carolyn Bessette-Kennedy's fashion industry alma mater, Calvin Klein. Better yet, she debuted her CK Collection dress on Hollywood's second buzziest stage: the 2026 Vanity Fair Oscar Party.

Senior fashion news editor Halie LeSavage predicted CBK-inspired minimalism would get "its long-awaited red carpet moment" at the Oscars after-party, especially "given that Love Story star Sarah Pidgeon is also making the rounds." An hour after Marie Claire's celebrity fashion expert manifested it, Pidgeon made her Oscars debut in a "platinum crystal and sequin-encrusted floor-length gown," according to the label.

Pidgeon's silhouette—specifically the spaghetti-thin straps and column shift—was the embodiment of '90s simplicity. The bodice's top layer folded outward as effortlessly as John F. Kennedy Jr.'s notepad, before cascading down to the coordinating red carpet. Stark white Stuart Weitzman sandals emerged from beneath Pidgeon's skirt.

Why Calvin Klein Collection? Before marrying JFK Jr., Bessette-Kennedy became a prominent pillar in New York City's style scene through her publicist position at Calvin Klein. By playing CBK in the FX biopic series, Pidgeon has become permanently linked with the label.

The homages to her Love Story character continued with Pidgeon's The One Clutch Bag. Calvin Klein modeled the part-crossbody, part-flask Fall 2025 purse after the iconic CK One fragrance. Turns out, the perfume launched in 1994, seven years into Bessette-Kennedy's nine-year run at Calvin Klein. Clearly, Pidgeon and stylist Emma Jade Morrison are well-versed in CBK's world.

Yes, Pidgeon is a Calvin Klein girl by association, but she's only publicly worn the brand on one other occasion. On Feb. 11, the actor and her Love Story co-star, Paul Anthony Kelly, went on Good Morning America, dressed in staples straight from their character's closets. Pidgeon, for one, sourced Look 48 from Calvin Klein's Spring 2026 runway show: a billowy, little white dress, featuring a pleated, bubble-hem skirt. Just like Alex Consani on the catwalk, Pidgeon wrapped a matching tulle scarf around her neck.

The actor is keeping Carolyn Bessette-Kennedy's sartorial legacy front-and-center, one outfit at a time. Simultaneously, she's expanding her understated aesthetic far beyond black turtlenecks and straight-leg jeans. For instance, she could've just styled a neutral slip dress from Calvin Klein Collection at the 2026 Vanity Fair Oscar Party. Bessette-Kennedy rarely wore jewelry, much less rhinestones on her CK selects. By styling anti-CBK crystals anyway, Pidgeon modernized the fashion muse's almost 30-year-old signatures, just as she's done on the Love Story press tour.

The 98th Academy Awards have officially wrapped, but you should know by now that, while we're always bound to witness a pleasant surprise or two during the actual ceremony, the real fun starts when the cameras stop broadcasting and all of your favorite Oscars attendees (and then some!) make their way over to the after-parties. More specifically, the famed Vanity Fair Oscar Party.

Usually the Vanity Fair Oscar Party serves as the occasion for award winners to let loose with their brand new, freshly-engraved statues while rubbing shoulders with other A-listers who couldn't make the main event, but it's also ripe with daring hair and makeup moments that we didn't get to see during the show. Last night brought out all the heavy hitters, from the ever-present Kardashian-Jenner siblings to first-time attendees like Heated Rivalry's Connor Storrie and Hudson Williams. And if you think they didn't deliver glam that was downright electrifying, you're wrong.

Before we officially close the book on red carpet season, take a look at some of my favorite beauty moments from the 2026 Vanity Fair Oscar Party ahead.

Wunmi Mosaku

The most upsetting thing about awards season ending is no longer being able to witness the literal magic that Wunmi Mosaku's glam team have been creating with her hair and makeup moments. The Best Supporting Actress nominee attended the main ceremony and the afterparty wearing a gorgeous sculptural hairstyle created by hairstylist Araxi Lindsey using SheaMoisture products.

Danielle Brooks

When trying to choose between long and short hair, be like Danielle Brooks and get the best of both worlds in one night. After hitting the Oscars red carpet in big, bombshell curls, she stepped out at the afterparty wearing a flippy bob.

Anya Taylor-Joy

Anya Taylor-Joy spiced up her sleek, low bun with a vintage headpiece. She wore a smoky eye and a red lip for a little extra drama.

Sarah Pidgeon

The Love Story star kept her look for the night pretty simple with a sleek, bone-straight finish and a middle part.

Kim Kardashian

Kim Kardashian looks so different wearing a fluffy, jet black lob and icy blue contacts that I almost didn't recognize her—but that's probably to be expected any time she's on the guest list for a major event. She wore a dramatic smoky eye to make her colored contacts stand out even more.

Cara Delevingne

This is your weekly reminder that, despite Gen Z's best efforts, the side part is still alive and more popular than ever. See: Cara Delevingne's updo and side bang as proof.

Connor Storie

Yes, the matching sheer top moment with Hudson Williams was everything, but can we also take a moment to praise this curly faux-hawk?

Sarah Paulson

If there's any celebrity who could successfully convince me to get a bixie haircut, it's Sarah Paulson and I stand by that.

Quinta Brunson

I audibly gasped when I saw photos of Quinta Brunson's honey brown hair and glossy nude lip. And that smokey eye? 10/10.

Quenlin Blackwell

I just love when celebrities prove that braids and protective hairstyles are red carpet-appropriate. Here, influencer and I Love LA actress Quenlin Blackwell wears chic, waist-length boho braids with a kiss curl.

Jane Fonda

I love a gray hair moment on any red carpet, but this curly bob from Jane Fonda stopped me in my tracks.

Kiernan Shipka

The only thing better than a super-sleek ponytail is a long and voluminous one, like this one worn by Kiernan Shipka.

Zoe Deutch

Last night was all about the bobs, and Zoe Deutch's '90s-style cut is definitely topping my list of favorites.

Olandria Carthen

Not only do I immediately need a tutorial on how the Love Island star achieved this romantic messy updo, but I need her full body glow routine like yesterday.

Considering its number of record-breaking moments and long-awaited wins, the 2026 Oscars will go down in film history.

Last night, the 98th annual Academy Awards arrived to cap off a long and exciting awards season. (You can thank the Winter Olympics for the slight extension.) The nominees marked a year of wins for representation, with diverse films like Sinners and KPop Demon Hunters as frontrunners; triumphal returns for auteurs like Paul Thomas Anderson and Chloé Zhao; and huge strides for international films, as Hollywood's most-coveted awards became truly global.

As the best movies of 2025 were honored, we at Marie Claire kept track of the ceremony's highlights, from host Conan O'Brien's best segments to the moving speeches that brought tears of joy to the upsets we could not have predicted. Read on for the most memorable moments of the 2026 Oscars.

Conan O'Brien ran through this year's nominees as Aunt Gladys—and got really political—to open the awards show

Conan O’Brien returned to host for the second year in a row and delivered a stellar opening monologue, both for its biting sense of humor and thoughtful political bent. The comedian opened the ceremony with a fun journey through many of this year’s nominated films, courtesy of a nod to the final scene of Weapons. In Aunt Gladys drag, O’Brien was chased by an angry mob of children—just like Amy Madigan’s character in the horror blockbuster—traveling through memorable scenes of F1, Marty Supreme, Hamnet, One Battle After Another, KPop Demon Hunters, Sentimental Value, and Sinners, until eventually bursting through the crowd of the Dolby Theatre in L.A. and onto the stage.

Throughout his monologue, the host pulled heartthrobs and Best Actor nominees Leonardo DiCaprio, Michael B. Jordan, and Timothée Chalamet into jokes. But for the most part, he used his platform to discuss the dire state of the world—and encouraged talent to speak up throughout the night. “I should warn you that tonight could get political, and if that makes you uncomfortable, there’s an alternate Oscars hosted by Kid Rock down the street,” he joked, referring to the right’s reaction to Bad Bunny’s Super Bowl Halftime Show. And he didn’t stop there; O’Brien made digs at the country’s lack of affordable health care, the poor handling of the Epstein files, and more. However, he mostly encouraged optimism and referenced how many of the nominated films have universal messages. “We pay tribute to the ideals of global artistry, patience, collaboration, and the rarest of qualities today, optimism,” he concluded. “Let us celebrate not because all is well but because we work and hope for better.”

Of course, he couldn’t go out without one more bonkers joke: O’Brien awarded himself an Oscar, while being crowned the equivalent of the Oscars Prom King with a robe, crown, and trophy handed to him from an eagle, all the while Josh Groban serenaded him. It’s Cinema’s Biggest Night, baby!

Scream Queen Amy Madigan won Best Supporting Actress

Horror seldom gets recognition by the Academy, so it was somewhat of a surprise when Weapons star Amy Madigan received a Best Supporting Actress nomination—and an even more pleasant surprise when she took home the trophy during the awards ceremony. The actress, who plays the cult-loved wig-wearing, witchcraft-wielding Aunt Gladys, was “flummoxed” by the win and cackling with laughter as she joked about thinking about what she might say on stage while taking a shower and shaving her legs the night before.

With the win, Madigan also made history as the actress with the longest break between nominations, as she returned to the Academy’s stage for the first time in 40 years. Having last been nominated in 1986 for Twice in a Lifetime, as she stepped on stage, she shared her feelings about the record-breaking moment: “This is great! Everybody's asking me in the press and all this, ‘Well, it's been 40 years, and, you know, what's different about this time?’ What’s different is that I’ve got this little gold guy.”

While it was exciting to see Madigan return to the stage and receive recognition from her peers—as well as shout out her fellow nominees (Wunmi Mosaku, Elle Fanning, Inga Ibsdotter Lilleaas, and Teyana Taylor)—her win also marked the first time in quite some time that the Academy honored a performance in a genre film. (Demi Moore was nominated last year for The Substance, and Natalie Portman won in 2011 for Black Swan, although others, like Lupita Nyong’o for Us and Toni Collette for Hereditary, have been snubbed in the years since. Let’s go, scream queens!)

'Sinners' brought its most iconic scene to the stage

To celebrate the most-nominated film in Oscars history, the ceremony brought Sinners’s mystifying juke-joint scene to life. In a performance of the film’s Best Original Song-nominated “I Lied to You,” the track’s producer Raphael Saadiq gave a quick intro before Sammie himself, Miles Caton, serenaded his co-stars Jayme Lawson and Li Jun Li, as well as the dancers swaying in the juke. Lawson and Li weren’t the only co-stars who appeared; fictional vampires Jack O’Connell, Peter Dreimanis, and Lola Kirke were briefly shown trying to join the fun, but they were turned away.

As the performance summoned musical storytellers from the past and present, an array of stars joined the performance. Buddy Guy and Bobby Rush represented blues legends. Alice Smith joined Caton on backup vocals, along with rising country star Shaboozey. Eric Gales, Christone “Kingfish” Ingram, and Brittany Howard shredded on rock guitar as a DJ brought in the beat. Meanwhile, African, hip hop, and traditional Chinese dancers filled the stage, and the grand finale was trailblazing ballerina Misty Copeland. As the crowd broke into a standing ovation, it was clear that Sinners’s astonishing display of the legacy of the blues had translated from screen to stage.

The first-ever nominees for Achievement in Casting got their time to shine

This year’s Oscars introduced an all-new category: Achievement in Casting, honoring the casting directors who help assemble the A-listers and fresh faces that make up a film’s ensemble. While the Academy airs every award during the live show, it has a bad rap for not always giving below-the-line nominees their moment. But Achievement in Casting got an extra-special nod (that was more than well-deserved, considering the department was previously overlooked in the award show’s 98-year history). Each casting director who received a nod—Nina Gold (Hamnet), Jennifer Venditti (Marty Supreme), Cassandra Kulukundis (One Battle After Another), Gabriel Domingues (The Secret Agent), and Francine Maisler (Sinners)—got a shout-out from one of the stars of the film they worked on, including Paul Mescal, Gwyneth Paltrow, Chase Infiniti, Wagner Moura, and Delroy Lindo. It felt personal and sincere, and like a peek behind the curtain at their essential yet often thankless cast. The moment ended with Kulukundis ultimately taking home the award and making history as the first-ever winner in the category.

The Best Animated Feature win for 'KPop Demon Hunters' was one for the dreamers

It wasn’t a big surprise when KPop Demon Hunters won the Oscar for Best Animated Feature; the global sensation spent awards season sweeping every awards body and guild. When co-directors Maggie Kang and Chris Appelhans, and producer Michelle Wong took the stage, they made sure to highlight how much the film has meant to the Korean diaspora.

“For those of you who look like me, I'm so sorry that it took us so long to see us in a movie like this,” Kang, who’s Korean-Canadian, said. “But it is here—and that means that the next generations don't have to go longing. This is for Korea and for Koreans everywhere.”

Appelhans also honored the film’s global impact with a message to other young artists with a story that’s never been told before. “Music and stories have this power to connect us as humans across cultures and borders,” he said. “So I just wanna take a moment to say to all the young filmmakers, artists, musicians in all corners of the globe: Tell your story, sing in your voice, I promise you the world is waiting.”

Rob Reiner, Diane Keaton, and Robert Redford’s In-Memoriam tributes made us ugly-cry

We lost many Hollywood legends in 2025, and the Academy honored them with one of the best In Memoriam sequences in recent memory. While the tribute included the typical montage of artists and creatives, including actors like Isiah Whitlock Jr., Graham Greene, Val Kilmer, and Robert Duvall, several stars also came to the stage to honor some of the film industry’s most famous icons.

The extended segment began with Billy Crystal, who shared fond memories of the late director Rob Reiner and a nod to “the millions who have enjoyed his films.” He was then joined by some of the actors who have appeared in Rob Reiner movies through the years, from Crystal’s When Harry Met Sally co-star Meg Ryan, to Misery’s Kathy Bates, to A Few Good Men’s Demi Moore, to The American President’s Annette Bening.

Rachel McAdams also highlighted the incredible actresses we lost last year, like Claudia Cardinale, Diane Ladd, Catherine O’Hara, and Diane Keaton. McAdams became emotional as she honored Keaton, her co-star from The Family Stone and Morning Glory. “She wore so many hats...literally and figuratively. But no hat more important to her than being mother to her two children,” McAdams said. “To our friend, Diane Keaton, celebrating a life in silver and gold, a legend with no end."

Finally, Barbra Streisand graced the stage to honor her The Way We Were co-star Robert Redford, fondly recalling how he used to call her “Babs.” She concluded by singing a snippet of her Oscar-winning ballad from the film, ensuring that there wasn’t a dry eye in the house.

The 'Bridesmaids' cast reunited and had us in stitches

There’s only one comedy ensemble that became instantly iconic and can still say they are more beautiful than Cinderella, smell like pine needles, and have a face like sunshine. Obviously, it’s the women of Bridesmaids—and we were overjoyed that Kristen Wiig, Maya Rudolph, Rose Byrne, Melissa McCarthy, and Ellie Kemper reunited on stage in honor of the blockbuster’s 15th anniversary. The legends presented the awards for Best Score and Best Sound, and made us audibly crack up in the process.

In a hysterical bit, they read “notes” sent up from the audience that just so happened to dish out backhanded compliments. Stellan Skarsgård, for example, thought they were “aging well,” and “the kid from Hamnet” was bored, wanted to go home, and was disappointed there was no pizza. They each got to highlight their individual comedic strides, like when Rudolph dropped the quick-witted, “earlier today when I was counting my money,” and Kemper explained she learned what sound was from “a woman [she] met on a rollercoaster.” It also looked like they got a kick out of each other’s deliveries and broke a little. All in all, it was a delight to see them all together again—and we’re still holding out for Bridesmaids 2.

Autumn Durald Arkapaw made history as the first woman to win Best Cinematography

After 98 years, the Oscar honored its first woman for Best Cinematography. Sinners cinematographer Autumn Durald Arkapaw took home the historic honor for the male-dominated craft, to the explosive applause of her film’s cast and crew. Arkapaw began her speech by thanking the people who supported her throughout her career, including Sinners director Ryan Coogler (who she called ”a very, very honorable person”), cinematography pioneer Ellen Kuras, and Black Panther cinematographer and Oscar nominee Rachel Morrison. She then asked every woman in the room to stand, saying, “I feel like I don't get here without you guys…and I want to thank you for that.”

Arkapaw went on to thank the Sinners cast and crew, naming each actor in the ensemble. “These people are so beautiful, and I’m honored to be there photographing them,” she said. Finally, she highlighted her family in the room, including her young son Aiden, whom Coogler had collected from the back of the theater and ran up to join the cast. She concluded, “Thank you so much. This is an honor. Thank you.”

EJAE, Rei Ami, and Audrey Nuna of HUNTR/X get their “Golden” moment

After spending the past several months on the Billboard charts, the titular KPop Demon Hunters brought their record-breaking hit “Golden” to the stage. The performance began with a short history lesson on the Korean folk tale that inspired the film; as traditional Korean instrumentalists performed the “Hunter’s Mantra,” demon hunters of the past fought an ancient version of the film’s demon boy band. When EJAE, Rei Ami, and Audrey Nuna began singing, the Dolby Theater turned into the Golden Honmoon, thanks to a sea of flag dancers onstage and the lightsticks swaying among the audience.

Soon after, “Golden” was announced as this year’s Best Original Song, becoming the first K-pop song to win the Oscar. Though the songwriting and producing team’s acceptance speech was cut short, EJAE gave an emotional speech thanking her family, her fiancé, and the film’s cast and crew. “Growing up, people made fun of me for liking K-pop, but now everyone's singing our song and all the Korean lyrics,” she said. “I'm so proud. And I realized, like this song, this award is not about success, it's about resilience.”

Michael B. Jordan became part of Black Oscars history with his Best Actor win

In a year when none of the actor races had a clear frontrunner, Michael B. Jordan’s win for Best Lead Actor was the biggest surprise of the night. The Sinners actor, who gave a transformative performance as twin gangsters Smoke and Stack, is only the sixth Black actor to win the category. He honored those who came before him, past winners Sidney Poitier, Denzel Washington, Jamie Foxx, Forest Whitaker, and Will Smith, as well as Halle Berry, the only Black woman to win Best Lead Actress.

After taking the stage to rapturous applause, Jordan shouted out his family in the room before thanking Warner Brothers for “betting on the culture, original ideas, and original artistry.” He went on to thank Ryan Coogler, who has directed him in four films so far. “You’re an amazing, amazing person. I’m so honored to call you a collaborator and a friend. You gave me the opportunity and space for me to be seen,” he said. As the camera showed Coogler sending Jordan love through sign language, Jordan said back, “I love you, too, bro. I love you to death.”

Jordan went on to thank his Sinners co-stars, highlighting his love interests Wunmi Mosaku and Hailee Steinfeld. As he became emotional, he called the Black actors who paved the way for him “giants” and “greats.” And, to conclude, he thanked the fans who made Sinners a cultural phenomenon and all of his supporters. “I know you guys want me to do well, and I want to do that because you guys bet on me. I’m going to keep being the best version of myself I could be.”

Jessie Buckley dedicated her Best Lead Actress win to "the beautiful chaos of a mother's heart"

Oscars night took place on Mother’s Day in the U.K., so it was a lovely bit of kismet when Jessie Buckley was announced as Best Lead Actress. Though it was a competitive field, the Irish actress’s portrayal of an Elizabethan mother’s mourning received the title. Still, Buckley began her speech by thanking her “incredible” fellow nominees, saying, “I am inspired by your art and your heart, and I want to work with every single one of you.”

The Irish performer went on to seek out her family in attendance, thanking her parents “for teaching us to dream and to never be defined by expectation, but to carve from your own passion.” In her usual candid style, she told her husband, Fred, “You’re my best friend and I want to have 20,000 more babies with you.” As for her 8-month-old daughter, Buckley admitted that the infant “has absolutely no idea what's going on and is probably dreaming of milk,” before sharing her love. “This is kind of a big deal, and I love you, and I love being your mom, and I can't wait to discover life beside you,” she added.

Finally, Buckley thanked Hamnet author Maggie O’Farrell and director Chloé Zhao, before expressing her gratitude for the film. “To get to know this incandescent woman and journey to understand the capacity of a mother's love is the greatest collision of my life,” she said. “I would like to dedicate this to the beautiful chaos of a mother's heart. We all come from a lineage of women who continue to create against all odds. Thank you for recognizing me in this role,” she concluded, before honoring her Irish roots by repeating her thanks in Gaelic. (She's now the first Irish woman to win in the category.)

'One Battle After Another' won best prize—and took a moment to honor the women at the film's center

At the end of the night, One Battle After Another took home the coveted prize for Best Picture. Earlier during the evening, the writer-director Paul Thomas Anderson also scored Best Director and Best Adapted Screenplay, as the film adapts Thomas Pynchon’s novel Vineland, and Sean Penn won Best Supporting Actor. As the team accepted the award for Best Picture, they were overjoyed—so much so that star and Best Supporting Actress nominee Teyana Taylor couldn’t stop giving Anderson passionate, playful hugs as he helped lead her up the steps to the stage. Chase Infiniti, meanwhile, kept adorably jumping up and down with unadulterated joy.

After producer Sara Murphy spoke about what an honor it was to work on the political action-drama, Anderson gave another speech, noting how it was an incredible year in film. He pointed to the memorable films all nominated for Best Picture in 1975 (One Flew Over the Cuckoo's Nest, Barry Lyndon, Dog Day Afternoon, Jaws, and Nashville), which have stood the test of time, likening them to this year's crop and how they all deserved to come out on top.

The filmmaker also joked that he “blew it” while accepting Best Director because he forgot to thank his cast. The auteur (who had been nominated for 11 other Oscars before winning any tonight) primarily directed his attention at the women at the film’s center whose performances kept it grounded, human, and compelling. He “especially” thanked Infiniti, calling the lead actress who portrayed Willa his “American Girl,” in reference to the heartwarming Tom Petty & the Heartbreakers needle drop in the film’s final moments. “You are the heart of this movie.”

Everyone in Hollywood knows the best Oscars fashion isn't limited to the official red carpet. The night truly gets going at the Vanity Fair Oscar Party—the only after-hours event where the guest list ranges from major nominees to Hollywood's reigning It girls.

With the formal Academy Awards out of the way, the Vanity Fair Oscar Party is usually stars' place to let loose. Historically, sheer naked dresses and teeny-tiny two-pieces are the unofficial dress code. But this year, the best-dressed guests decided to flip the script. Stars like Keke Palmer and Gabrielle Union traded all-out reveals for a strategic cut-out or a deep plunging neckline, made all the more dramatic by full-coverage fabric everywhere else. Teyana Taylor changed into a second Chanel dress after the Oscars ceremony—and exchanged her see-through bodice for a Marilyn Monroe-esque white silk. Even Hailey Bieber's Giorgio Armani Privé dress and Kendall Jenner's custom Chanel gown steered clear of peekaboo detailing, in favor of modest (but still exciting) beadwork and runway-approved color trends.

At the 2026 Vanity Fair Oscar Party, the art of the reveal was ultimately about flexing a new side of one's personal style—and rewriting the rules for late-night dressing along the way. Ahead, discover Marie Claire's picks for the best looks on the biggest after-party red carpet. Trust: These fashion moments were worth staying up late to see.

Sarah Pidgeon wearing Calvin Klein Collection

Throughout press for her FX series Love Story, Sarah Pidgeon has worn almost every brand from her character, Carolyn Bessette-Kennedy's, famed closet. Just one was missing until the Vanity Fair Oscar Party: Calvin Klein, the same label where CBK worked and made her name before marrying America's most eligible bachelor. She finally stepped into custom Calvin Klein Collection with a starlit silver dress, featuring Calvin Klein's signature spaghetti straps and a deconstructed neckline. Stylist Emma Jade Morrison amped up the '90s energy by handing Pidgeon a CK One perfume bottle to carry like the most minimalist miniature bag. This was an Oscar Party debut even Kelly Klein would approve.

Gabrielle Union wearing Celia Kritharioti 

Gabrielle Union made the whole place shimmer at the 2026 Vanity Fair Oscar Party. The source of her shine? A bespoke Celia Kritharioti gown that flowed like a waterfall from her shoulders to a plunging neckline and into a carpet-grazing maxi skirt. She amplified her dress's chainmail glitter with a celebrity-beloved trend: the statement pendant necklace.

Bella Hadid wearing Prada

Bella Hadid's Prada girl era is in full swing. After walking for Miuccia Prada and Raf Simons—four times!—during the Fall 2026 fashion show in Milan, she jetted back to Los Angeles to model a custom Vanity Fair Oscar Party look. '90s minimalism replaced her runway appearance's embellished layers, in the form of a sculpted halter top and tailored column skirt. Knowing Hadid's flair for mixing and matching unexpected pieces, she might just re-wear this top with her favorite Levi's on her next L.A. outing.

Kate Hudson wearing Gucci

Best Actress nominee Kate Hudson spent most of awards season paying homage to Song Sung Blue in dresses ranging from turquoise to cobalt. For the 2026 Vanity Fair Oscar Party, she was ready to paint it black. From the gothic shimmer to the abdominal cut-out, this Gucci gown reversed all her red carpet patterns in the most delightfully unexpected way.

Ejae wearing Dior

Singer Ejae's "Golden" night at the Oscars didn't end with her trophy for Best Original Song. The winning energy continued at the after-party, where she pulled a magnificent floral and feathered dress from Dior Fall 2026. This gown only walked the Paris Fashion Week runway days ago. Thank goodness the asymmetric skirt and 1920s-inspired fabric made the flight.

Emma Chamberlain wearing Valentino

Here's a breath of fresh air on the Vanity Fair Oscar Party red carpet, courtesy of Emma Chamberlain and stylist Jared Ellner. The duo looked at the years of barely-there sheer dresses and decided those were playing it too safe. So instead, they tapped Valentino's Pre-Fall 2026 collection for a lesson in grunge-meets-glam juxtaposition. Bright yellow opera gloves, a lacy-trimmed tank, and a sequin skirt wouldn't sound like they work on paper; but in the photos, they're operating in perfect harmony.

Tracee Ellis Ross wearing Marine Serre

Leave it to Tracee Ellis Ross and stylist Karla Welch to break the black-and-white mold on the Vanity Fair Oscar Party carpet. They didn't need a single crystal or peekaboo cut-out to make an impression: just a cloud-like bubble skirt juxtaposed by a second-skin turtleneck did the job for them.

Kendall Jenner wearing custom Chanel

Everyone who thought Kendall Jenner would hit the Vanity Fair Oscar Party in another black dress by The Row lost their bets. The model branched out from her classic red carpet palette, in favor of a glacial blue Chanel gown. Stylist Danielle Goldberg knew this dress didn't need more ornamentation than its beaded flowers along the neckline and waist, so Jenner kept it nearly accessories-free to let the 2026 color trend shine.

Cara Delevingne wearing Thom Browne

Thom Browne doesn't do fashion the traditional way—not even a naked dress. Instead of having model and actress Cara Delevingne bare her actual torso, the designer provided trompe-l'œil abs crafted from red, white, and deep navy crystals. Set over a stark black skirt, the optical illusion ab-solutely popped.

Teyana Taylor wearing Chanel

It was a night of one Chanel gown after another for Teyana Taylor. After shutting down the Oscars red carpet in a plumed, semi-sheer gown custom-made by Matthieu Blazy, the multi-hyphenate hit the Vanity Fair party in a second creation by the French maison. This time, she swerved to Cloud Dancer-white with a completely open back and a daring, V-cut neckline. Crystal-encrusted straps dangled off her shoulders like the carpet's chicest backward necklace. As far as awards season send-offs go, this was a glamorous one.

Ashley Graham wearing Kallmeyer

Here's a first New York City cool-girls will appreciate: Kallmeyer made its Vanity Fair Oscar Party debut with an assist from supermodel Ashley Graham. The insider-beloved label reworked a Fall 2026 gown to include a mile-high leg-slit for the occasion. If you love the drapey, off-the-shoulder silhouette, there's more good news: a version of the gown will be available to shop this May.

Hailey Bieber wearing Giorgio Armani Privé

Walking on the wild side doesn't have to involve a 30-foot train or a feather cape (though both were present on the 2026 Oscars red carpet). Instead, Hailey Bieber and Dani Michelle thought it was high-time to revamp a classic Giorgio Armani Privé gown with a primal leopard print. Not only does this queen of the jungle dress involve miles and miles of beading, but it also works in fashion history. According to Armani, it's inspired by a Fall 2005 runway gown kept in the maison's archives.

Keke Palmer wearing Gucci

Another workaround for traditional naked dressing? The strategic cut-out. Keke Palmer and stylist Molly Dickson chose a Gucci gown coating her in eggplant purple velvet—save for two hip bone-revealing slashes just above her skirt.

The night movie lovers were waiting for finally came: The 98th Academy Awards brought A-listers to L.A.'s Dolby Theater to celebrate the very best the silver screen had to offer. As the cap-off to the 2026 awards season, the March 15 ceremony hosted by Conan O'Brien was always going to be eventful. But before the first golden statue was handed out, we tuned into what was even more eventful (at least for fashion fans): the Oscars red carpet.

2026's list of nominees was stacked, so the red carpet was primed for some memorable looks. Bugonia star Emma Stone and first-time nominee Jessie Buckley, both up for lead actress, looked unbelievable in Louis Vuitton and custom Chanel, respectively. Other Oscars newcomers included supporting actress nominees Elle Fanning and Teyana Taylor (a recent Marie Claire cover star), both of whom marked the occasion with jaw-dropping looks worthy of the 2026 Oscars' best-dressed list.

Keep scrolling to see what your favorite star wore for the biggest night in Hollywood, and catch up on Marie Claire's live red carpet coverage for more insider details. (The gowns didn't stop there: we also covered every buzzworthy arrival live at the Vanity Fair Oscar Party.)

Mikey Madison in Dior

Anne Hathaway in Valentino

Leonardo DiCaprio in Dior

Gwyneth Paltrow in custom Giorgio Armani Privé

Jacob Elordi in Bottega Veneta

Priyanka Chopra Jonas in Dior

Gracie Abrams in Chanel

Regina Hall in Yara Shoemaker

Anna Wintour in Dior

Kate Hudson in custom Giorgio Armani Privé

Mia Goth in Dior

Kirsten Dunst in Celine

Timothée Chalamet in custom Givenchy

Goldie Hawn in Grayseful

Pedro Pascal in Chanel

Sigourney Weaver in Valentino

Nicole Kidman in Chanel

Amy Madigan in Dior

Melissa McCarthy

Teyana Taylor in Chanel

Chloe Zhao in Gabriela Hearst

Emma Stone in Louis Vuitton

Kathy Bates

Ava DuVernay in custom Louis Vuitton

Elle Fanning in custom Givenchy

Kristen Wiig in Elie Saab 

Demi Moore in Gucci

Danielle Brooks

Zoe Saldaña in Saint Laurent

Miyako Bellizzi in vintage Dior

Ginnifer Goodwin in Monse

Inga Ibsdotter Lilleaas in Loewe

Taylor Frankie Paul

Isabella Merced in custom Elisabetta Franchi

Wunmi Mosaku in custom Louis Vuitton

Rei Ami in custom Rahul Mishra

Jessie Buckley in Chanel

Odessa A'zion in Valentino Couture

Lewis Pullman in Saint Laurent

Law Roach

Ryan Destiny in custom Ami Paris

EJAE in Dior

Audrey Nun in Thom Browne

Anna Cathcart in Jenny Packham

Heidi Klum in Chrome Hearts

Misty Copeland in David Koma

Ariana Greenblatt in vintage John Galliano

Felicity Jones in Prada

Renate Reinsve in Louis Vuitton

Jayme Lawson in Loewe

Chase Infiniti in custom Louis Vuitton

Mckenna Grace in Vera Wang

Rose Byrne in Dior

Barbie Ferreira in custom GapStudio

Shaboozey in Campillo

Alicia Silverstone in Christian Siriano

Amelia Dimoldenberg in vintage Ralph Lauren

Bella Thorne in Gucci

Charithra Chandran in Miss Sohee

Hudson Williams in Balenciaga

Jihoon

When Hudson Williams and Connor Storrie first glided into the 2026 Vanity Fair Oscar Party, you could cut the tension with an ice skate's blade. The Heated Rivalry co-stars posed on opposite ends of the red carpet, but not for long. Williams and Storrie eventually embraced in matching naked shirts—a sartorial coincidence, if you can believe it.

First, Williams attended the 2026 Oscars in custom, all-black Balenciaga. A few hours later, the first-time guest debuted another bespoke Balenciaga set at Vanity Fair's soirée, minus a few layers. Stylist Anastasia Walker dressed him in a sleeveless tulle top, tucked into straight-leg trousers. Plot twist: The blouse was completely sheer. It became slightly more opaque atop the high neckline and carpet-grazing train. To finish, Williams traded his Bulgari watch for a diamond-encrusted, Serpenti Bangle. (Similar styles would set you back $95,000, if you're curious.)

You'd think Williams and Storrie exchanged "What are you wearing?" texts before the Vanity Fair after-party, but no. Walker confirmed via Instagram Stories that she and Storrie's stylist, James Yardley, "didn't plan this."

Storrie accidentally matched Williams's energy in a skintight, see-through long-sleeve from Saint Laurent's Fall 2026 Men's collection. The main difference? His was a warm-toned brown, to complement high-rise, chocolate-colored trousers. Storrie frosted his neck with a diamond Tiffany & Co. necklace. In lieu of a tulle train à la Williams, he threaded his arm through a brown Saint Laurent stole.

Williams and Storrie seem to be sartorial soulmates: They can't stop, won't stop coordinating. After Storrie hosted Saturday Night Live on Feb. 28, the two hit up the after-party in similar leather selects. The first-time host, for one, stacked over-the-knee Saint Laurent boots on top of a gray suit. Williams checked in a few minutes later, dressed in a black leather suit from Simkhai's Spring 2026 line.

The rising stars kicked off their first Oscars weekend at Creative Artists Agency's March 13 pre-Academy Awards affair. Each one wore all-black, but the parallels stopped there. Williams teased his naked Vanity Fair look in a tweed vest two-piece, layered on top of a lacy sheer long-sleeve. Later in the evening, he eventually ditched the wintery vest. Storrie, on the other hand, elevated a classic black button-down and trousers with silver jewelry.

Fresh out the gate, Williams and Storrie delivered Oscars step-and-repeats to rival Hollywood's red carpet regulars. Will their style streak continue next award season? Sadly, Heated Rivalry won't be eligible for 2027 award shows like the Golden Globes or Emmys. (The Canadian series would've had to be fully produced in the United States.) But America's favorite faux hockey players don't need a nomination to steal the show. Williams and Storrie do that simply by attending. Sheer shirts definitely help, too.

It was the peek-a-butt dress seen around the world. At last year’s Vanity Fair Oscars after-party, Zoë Kravitz wore a black Saint Laurent gown with a back mesh panel that started at her shoulder blades and ended at the bottom of her, er, bottom. Since then, red carpets have seen a slew of business-in-the-front, party-in-the-back looks, from Teyana Taylor’s “bijou thong” at the 2026 Golden Globes to Hailey Bieber’s cheeky panels at the recent Grammys. Kravitz’s after-party dress from last year was yet another piece of evidence for what’s come to be known as fashion fact: The It girl can set a trend like no other.

So, when the 2026 Oscars wrapped, and celebrities swapped their red carpet gowns for something more suited to the legacy publication’s celebration, every fashion editor covering the night had the same question: What would Kravitz wear to Vanity Fair’s 2026 Oscars after-party—and what soon-to-be-everywhere trend would come from it? Maybe lingerie and lace, another favorite look of hers? Something basic and black, but not basic in that sense? Or would she, somehow, up the cheeky precedent she set last year—and still make the best-dressed list?

The answer is nothing, because the Caught Stealing star skipped this year's Academy Awards after-party. She was last spotted in New York City on March 14, supporting her boyfriend, Harry Styles, for his Saturday Night Live hosting gig and musical performance. That's a few thousand miles from the Los Angeles County Museum of Art, where Vanity Fair had its celebrations the following night.

Though the 2026 Oscars after-party saw its fair share of spectacular looks—Kendall Jenner, for one, co-signed an underrated color trend in a custom Matthieu Blazy-designed Chanel dress—Kravitz's presence was missed.

For over two decades, the Blink Twice director has proved herself a key arbiter of cool. She carried The Row bags before they were the most coveted items in the industry. Back when Gen Z called ballet flats cringe and cheugy, Kravitz was strolling around downtown New York City and posing at photo calls in the simple slip-on shoe.

Most recently, on NYC walkabouts with Styles, Kravitz has embraced all-neutral items save for a single pop of color, sometimes in butter yellow, otherwise in royal purple. She's also consistently been topping off her understated, impossibly chic looks with low-key baseball hats, often embroidered with a blink-and-you-miss-it slogan or logo.

In other words, expect to see a spike in one-and-done color accents and baseball caps across the celebrity set and fashion crowd over the next few months.

Perhaps the greatest takeaway from Kravitz’s style is that she herself doesn’t concern herself with fashion trends or care about what social media deems cool or not. Rather, the actress stays true to herself, to the same pared-back, slightly offbeat aesthetic she’s worn for decades.

So, yes, take inspiration from the styles she co-signs. But if you want to reach that coveted It girl status that Kravitz has, it’s best to focus on what you want to wear. And from her 2026 Oscars after-party no-show, she clearly abides by the same do-what-I-want approach when organizing her social calendar. Respect.

Hailey Bieber proved that if you only tune into the 2026 Oscars red carpet, then you're missing out on some of the night's most jaw-dropping gowns. The Rhode founder arrived at the 2026 Vanity Fair Oscars after-party on March 15 showing her wild side in custom Giorgio Armani Privé. I'm calling it now: It'll be on every best-dressed list from the evening.

Departing from her favorite naked dresses, Bieber wore a golden gown with a fully embroidered leopard-print design, featuring a strapless neckline and a subtle train. Working with stylist Andrew Mukamal, Bieber accessorized her best-dressed after-party entry with a chain choker and a heart pendant draped down her back, along with Manolo Blahnik heels, her rumored new engagement ring, and diamond earrings from Lorraine Schwartz. On the beauty front, she kept her glam soft and warm-toned, her signature, with a flippy bob and red nails for a pop of color.

Fashion fans may recognize Bieber's Glamoratti look—it was inspired by a gown from Giorgio Armani Privé's Fall 2005 collection. Bieber's dress was a near replica of a strapless animal-printed number from the early aughts collection, although the star opted for a higher neckline and minimal accessories.

As a bona fide It girl, Bieber often turns to vintage finds for both her everyday wardrobe and red carpet moments. Most recently, she tracked down a vintage Issey Miyake matching set for husband Justin's birthday celebrations. And for last year's Vanity Fair Oscars after-party, Bieber went the vintage route with a Yves Saint Laurent gown from 1987. The look was pure elegance with a strapless silhouette, complete with a fitted bodice, a bow at the waist, and a sheer organza skirt.

Once again, Bieber has proved that turning to the past may be the key to landing one of the most memorable looks on the red carpet.

If the 2026 Oscars isn't your first rodeo, you know some of the buzziest fashion moments arrive after the official red carpet closes. Some stars, like Lisa Rinna, even reserve their Academy Awards look just for Elton John's Oscars viewing party. Rinna's custom Christian Cowan dress—sculpted entirely from real hair—was certainly worth the wait.

The Traitors star made her Oscars debut while pregnant in 1998, before returning in 2006, 2008, and 2009. On March 15, Rinna showed out in bespoke Christian Cowan for her first Oscars soirée in three years. Clearly, the New York City designer knew the watch parties host more avant-garde gowns than the ceremony. (See Megan Thee Stallion, Julia Fox, Zoë Kravitz, and Kendall Jenner in naked dresses last year.) "[Rinna's] used to pushing the boundaries," Cowan tells Marie Claire. "She's not a typical gown girl—she likes to play with fashion and all the possibilities that fashion can provide."

With the lax dress code top of mind, Cowan and TRESemmé used real human hair to build Rinna's boldest red carpet look yet. What started as a sheer nude mesh became quickly coated with jet black strands of hair. Products from TRESemmé's A-List Collection gave each tress some structure, without dimming its shine. "I think so often I'm in fittings with our gowns and we haven't done the hair yet," Cowan shares. "It's the hair that's the pièce de résistance." He wanted this to "start at that point rather than finish, and just celebrate the beauty of human hair."

First, Cowan used the moldable hair to create a sweetheart-esque neckline. Once the bust was completely opaque, the hair began to loosen down Rinna's waist, hips, and legs. This formed occasional skirt cut-outs as locks cascaded further and further. If the vibe was gothic Rapunzel, Cowan and Rinna hit the nail on the head. In the end, 16 people—ranging from "atelier workers to hair stylists"—spent about 172 hours on Rinna's gown.

Designers don't create a gown of this magnitude for just any celebrity. But Cowan and Rinna have history: She attended Cowan's fashion show back in Feb. 2020. (Not in a hair-dress, but in a pink sequin mini.)

A few months later, Cowan cast the reality TV star in a campaign for his Le Specs collaboration. This time, Rinna wore nothing but rim-less, cat-eye sunglasses. See? Wearing only hair to a 2026 Oscars affair wasn't out of left field for Rinna.

Until recently, Lady Gaga was one of Hollywood's only A-listers willing to take such a risk. (Remember her purple ponytail-turned-dress in 2012?) Hair dresses are having a moment this year—a plot twist I certainly didn't see coming.

Last month, Margot Robbie picked up where Gaga left off on the Wuthering Heights press tour. Blonde braids so dark they almost looked green stretched from the choker, beyond the sheer corset, and across her custom Dilara Findikoglu gown's skirt. Turns out, a bracelet made of author Emily Brontë's hair inspired the embellishment. Still, Robbie's hair was placed more sporadically than Rinna's. "She will always find a way to put her original twist on a look," Cowan says.

Kendall Jenner has never attended an official Oscars red carpet, but the model is a mainstay at the annual Vanity Fair after-party. One of the event's most reliable guests, Jenner can always be counted on to turn out a high-fashion look straight from the world's most exclusive runways or a hard-to-source archive.

For the past few years, Jenner and her stylist, Danielle Goldberg, have leaned into the after-party circuit's reputation for revealing the season's best naked dresses. Last year, she wore a skintight, lacy Mugler gown from the archives.The year before, she wore a semi-sheer dress from Maison Margiela's infamous Couture Spring 2024 runway. Search even further through the Kendall Jenner Vanity Fair files, and you'll find LBDs in every silhouette and length. But for 2026's best-dressed list, it was time for Jenner and Michelle to turn toward a new look by Chanel—and a reigning cool-girl color trend.

Kendall Jenner tapped Matthieu Blazy's Chanel for a completely bespoke dress. It was understated, but not in the minimalist sense of her day-to-day street style from The Row. Instead, the house provided an icy blue gown with floral beaded along the neckline and hips. Embellishments didn't extend down onto her skirt; aside from Tiffany & Co. delicate drop earrings, Jenner also steered clear of extra jewelry. She completed her look with Gianvito Rossi shoes.

The model must have been keeping close tabs on the runways before sending her favorite swatches to Chanel. As Marie Claire reported back in January, "cool blue" is a new neutral for 2026. Glacier-inspired shades appeared on runways from Simone Rocha to Victoria Beckham; touches of the same icy blue also splashed on Chanel's Métiers d'Art runway in December.

Chanel was one of the 98th Annual Academy Awards' big red-carpet winners. Jessie Buckley took home her Best Actress trophy in a bespoke Chanel gown, while Teyana Taylor celebrated One Battle After Another's Best Picture win in a feathered gown from the house. According to Kendall Jenner's Vanity Fair look, the house's latest era is just as suited for late-night dressing as it is for the main stage.

Fashion updates from the 98th Annual Academy Awards only start on the official Oscars red carpet. Every insider knows the night really gets going, sartorially-speaking, at the 2026 Vanity Fair Oscar party. The guest list opens up from the night’s official nominees to all of Hollywood’s elite—and the dress code loosens up from Old Hollywood gowns to daring two-piece sets and naked dresses as far as the eye can see.

From what Marie Claire editors have heard, Oscar Party regulars like Kendall Jenner, Bella Hadid, and Hailey Bieber are slated to link up with Emma Stone, Teyana Taylor, and every other A-lister at the Los Angeles County Museum of Art (LACMA). If history repeats, they’ll party until the early hours of the morning—some with freshly-engraved Oscars trophies in hand. There’s no word yet on what they’ll wear, but we’re anticipating a mix of pulls fresh from the Fall 2026 Fashion Month runways; rare designer vintage; and custom looks by the likes of Louis Vuitton, Dior, and Chanel.

Now that we’ve wrapped our official 2026 Oscars best-dressed list, we’re settling in for another red carpet marathon. Join me, senior news editor Halie LeSavage, and fashion staff writer Meguire Hennes, as we analyze our favorite Vanity Fair Oscar Party looks in real-time.

How to Watch the 2026 'Vanity Fair' Oscar Party Red Carpet

"You've already committed to a late night watching the official Oscars. What's a little more red carpet fashion? Once you're cuddled up in your pajamas, you can tune in to the official livestream on VanityFair.com and VF's YouTube channel. Hosts Quenlin Blackwell, Brittany Broski, and Jake Shane will kick things off around 10:30 p.m. ET. Of course, you can also flip through Marie Claire's live commentary before heading to bed..."—Halie LeSavage, senior fashion news editor

Our 2026 'Vanity Fair' Oscar Party Predictions

"The Vanity Fair Oscar Party is a place where fashion rules go out the window. One minute, you'll see a winner clutching their new trophy in a 1950s-esque ballgown, the next, Hunter Schafer will arrive with nothing but a feather for a top. I'm anticipating a late-night circuit where naked dresses and tummy-baring two-pieces will reign supreme. Given that Love Story star Sarah Pidgeon is also making the rounds, I expect CBK-inspired minimalism will also get its long-awaited red carpet moment."—Halie LeSavage

The 2025 'Vanity Fair' Oscar Party Set a Stylish—and Sheer—Bar for 2026

"My editor, Halie LeSavage, and I expected the 2026 Vanity Fair Oscar Party to begin an hour or so into the award ceremony. The step-and-repeats aren’t slated to start until after 10 p.m. ET, though, giving me plenty of time to reminisce on last year’s boldest Vanity Fair Oscar Party looks.

I’ll always remember the 2025 affair for Zoë Kravitz’s peekaboo butt panel. In case the 'business in the front, party in the back' moment isn’t ingrained in your brain, here’s your refresher: Kravitz walked the VF red carpet in a long-sleeve Saint Laurent gown, featuring a bedazzled window circling her behind.

The surprises continued once Megan Thee Stallion arrived. She went completely topless, with nothing but green nipple pasties atop her bust. Kendall Jenner even got the transparent memo, though her lacy long-sleeve gown was 32 years old. The circa-Spring 1992 Mugler design’s bell sleeves, mock neck, and liquified train looked fresh from a runway."—Meguire Hennes, fashion staff writer

The 2026 'Vanity Fair' Oscar Party Is Off to the Races!

"Amelia Dimoldenberg set a high standard for Oscars hosts in Ralph Lauren Fall 2007. Vanity Fair hosts Quenlin Blackwell and Brittany Broski picked up where Dimoldenberg left off, with Blackwell in a floral Chanel Spring 2026 gown and Broski in a leopard-print Versace dress. Extra points for Broski's 'ICE OUT' pin atop her delicately-draped, cowl neckline."—Meguire Hennes

Hannah Einbinder Trades the Oscars Red Carpet for the 2026 'Vanity Fair' Oscar Party

"I missed my Hacks homegirl on the 2026 Oscars red carpet. She made up for lost step-and-repeats at the Vanity Fair soirée, dressed in a strapless, black column dress. She livened up the timeless silhouette with a tangerine shawl draped effortlessly below her shoulders. Zoom in to see the monochrome floral lace atop the entirety of the cloak. Between its satin sheen and floral embroidery, I wouldn't be surprised if her set boasted Dior tags. Jessie Buckley wore an almost identical motif on her baby blue 2026 Golden Globes gown. Stay tuned for her designer reveal."—Meguire Hennes

Cara Delevigne Tests the Met Gala Theme on the 2026 'Vanity Fair' Oscar Party Red Carpet

"Our first non-naked naked dress of the night! Cara Delevigne has redefined 'bodycon' in a Thom Browne gown with trompe-l'œil detailing resembling a bare torso—but covered in crystal embellishments. This also feels like a sly nod at the 2026 Met Gala, where an upcoming exhibition on 'Costume Art' seeks to highlight representations of the body in the visual arts." —Halie LeSavage

Alison Brie Introduces the Half-Naked Dress at the 2026 'Vanity Fair' Oscar Party

"You've heard of the naked dress—but have you seen a half naked dress? Marie Claire cover star Alison Brie tested the waters with a strapless Yara Shoemaker Couture gown that was opaque at the top (and cape), then completely sheer through the skirt. It's the best of both worlds." —Halie LeSavage

Let's See Some 'Vanity Fair' Oscar Party Sequins!

"It's still early in the night, but guests are wasting no time sinking into sequins. Liquid-looking shimmer coated dresses on Jane Fonda, Jessica Williams, Nikki Glaser, and Taylor Tomlinson—with more to come." —Halie LeSavage

Sarah Pidgeon Makes Her 2026 'Vanity Fair' Oscar Party Debut

"Say hello to Love Story and Marie Claire cover story star Sarah Pidgeon. She's making her first Oscar Party appearance in a shimmering silver gown, right at the intersection of opulent, 2026 style and the minimalism her character, Carolyn Bessette-Kennedy, was known for. The designer behind her look? None other than Calvin Klein, the same house that brought CBK into the spotlight." —Halie LeSavage

Myha'la Goes Completely Sheer at the 2026 'Vanity Fair' Oscar Party

"She's sampled runway Miu Miu and Chanel. Now, Industry star Myha'la is taking our breath away in a completely sheer, lavender dress dotted with strategically-placed flowers. Like I said—it's going to be a big night for naked dresses." —Halie LeSavage

Cute 'Vanity Fair' Oscar Party Couple Alerts!

"This isn't a night just for solo arrivals. Several cute couples are bringing a plus-one, and all the feels, to the 2026 Vanity Fair Oscar Party." —Halie LeSavage

Olivia Rodrigo at the 'Vanity Fair' Oscar Party? Good Idea, Right?

"I can't confirm or deny whether a new Olivia Rodrigo era is uploading. But I do know the star is a standout for the night in custom Saint Laurent." —Halie LeSavage

Emily Ratajkowski and Julia Fox Flip Their 'Vanity Fair' Oscar Party Script

"Julia Fox and Emily Ratajkowski are usually the first celebrities I think of when the naked dress trend comes up. But for the 2026 Oscar after-party circuit, they opted for more full coverage looks. See? Style experimentation isn't only about the art of the reveal." — Halie LeSavage

Hats Off to Rita Ora!

"Talk about taking up space! Rita Ora is combining the power of a sweeping train with a gravity-defying feathered hat." —Halie LeSavage

Tracee Ellis Ross Delivers a 'Vanity Fair' Oscar Party Lesson in Contrast

"High contrast, high reward. Tracee Ellis Ross, a forever best-dressed guest, delivered a one-two punch in a gown combining a skintight black turtleneck top with a slitted, cloud-like white bubble skirt. Even before I knew this was a Marine Serre look, I knew this would be on my list of favorites." —Halie LeSavage

Our First 'Vanity Fair' Oscar Party Outfit Changes

"2026 Oscars attendees are making their way over from the Dolby Theatre to the LACMA for the after-party, with brand-new looks to match. Nicole Kidman changed out of her Chanel peplum gown and into a gilded gold dress, while Misty Copeland swapped her balletic two-piece for a slinky, backless gown." —Halie LeSavage

The Little Black Dress Rules the 2026 'Vanity Fair' Oscar Party

"2026 marks one hundred years of the little black dress. Stars definitely had the LBD's big birthday on their calendars, with everyone from Quinta Brunson to Naomi Watts styling peekaboo black gowns." —Halie LeSavage

Keke Palmer Tests a Daring 'Vanity Fair' Oscar Party Look

"Keke Palmer is always game for a red carpet risk. Tonight, she's trying one of Hollywood's favorite trends of late, the peekaboo hip cut-out, on an eggplant purple gown. The otherwise conservative cut of the gown makes the slits at her hips stand out even more." —Halie LeSavage

Kim Kardashian Goes for Gucci at the 'Vanity Fair' Oscar Party

"This custom Gucci gown looks like liquid gold. But really, it's just Demna's tailoring and Kim Kardashian's affinity for skintight styles working in perfect harmony." —Halie LeSavage

Zoe Saldaña's 'Vanity Fair' Quick-Change

"Another one! Zoe Saldaña slipped out of her black slip dress and into a naked lace mini for the after-party. The silhouettes couldn't have been more different, but the designer is the same: Saint Laurent by Anthony Vaccarello." —Halie LeSavage

'Showgirl' Style Enters the 'Vanity Fair' Oscar Party

"Spotted: vintage Bob Mackie, a signature of Taylor Swift's Life of a Showgirl era, spotted on creator Alix Earle. She sourced her circa 2001, beaded halter gown from Tab Vintage; Mimi Cuttrell styled the final look." —Halie LeSavage

Emma Chamberlain, 'Vanity Fair' Oscar Party Renegade

"There's so much I love about Emma Chamberlain's red carpet look. The bold color combination! The contrast of her little lacy cami and the sequin maxi skirt! Top to hem, it's a win for me." —Halie LeSavage

New York City Is Winding Down, But the 2026 'Vanity Fair' Oscar Party Is Heating Up

"It's getting late on the East Coast. So, we're going to wrap our live Vanity Fair coverage now. Until we pick up the looks again in the morning, soak in this couple's moment from Gabrielle Union and Dwayne Wade. Then, revisit our guides to the Oscars red carpet and the very best-dressed of the night." —Halie LeSavage

When Zendaya arrived at March 12's Essence Black Women in Hollywood event in a vintage Sex and the City pull, I had hope for her 2026 Oscars red carpet dress. The Dolby Theatre is just six miles north of Essence's venue, after all. But three days later, Zendaya was noticeably missing from the Academy Awards red carpet, just like the 2025 Oscars. All hope wasn't lost: Zendaya's stylist Law Roach said she "will be" at the 2026 Oscars in some way, shape, or form. At precisely 10:16 p.m. ET, she made a late-entry to the best-dressed list.

45 minutes before the ABC broadcast began, Z's longtime "image architect" talked to Extra on the red carpet. Roach served a look himself—in a black, lace-embellished tuxedo and a new haircut. Still, the question on every journalist's lips was, where's Zendaya?

"She's not here yet," Roach told Extra. "She will be, yeah." The red carpet closed before Zendaya could deliver her step-and-repeat, but trusting Roach was the right move. It appears Zendaya snuck into the Dolby Theatre during the ceremony, Kylie Jenner-style.

Roach tried to sneak away before Extra could ask about Zendaya's Oscars dress. Turns out, "she's wearing custom [Louis] Vuitton, by Nicolas Ghesquière," Roach teased. It'll be her third Louis Vuitton look of the month, following her fashion show 'fit and a The Drama press tour pick. "It's very beautiful, so she'll be here soon." When questioned about Zendaya's wedding—which he confirmed at the 2026 Actor Awards—he added, "I said what I said." You heard it here, folks: Zendaya is engaged, whether or not we saw her in white.

Roach was absolutely right when he called Zendaya's Oscars gown "beautiful." The surprise presenter graced the ceremony stage to hand Paul Thomas Anderson of One Battle After Another with the Oscar for Best Director. She was joined by her The Drama co-star, Robert Pattinson, who also skipped tonight's red carpet. Zendaya showed out in a one-shoulder, chocolate brown gown, courtesy of Louis Vuitton. Another angle showcased the bodice's sleeve cutout, which plunged to her ruched skirt.

After weeks of wearing only a diamond-less wedding band, the newlywed flaunted her five-carat Jessica McCormack engagement ring. (Yes, the same one she debuted on the 2025 Golden Globes red carpet.) She stacked its button-back, east-west center stone atop a thin gold band, also from Jessica McCormack.

Zendaya's latest official award season soirée was the 2025 Golden Globes last January. She wasn't nominated or presenting a trophy, but that didn't stop her from taking home the Best-Dressed title. Image architect Law Roach proved tangerine is Z's color with a custom Louis Vuitton gown. Its cinched, strapless bodice juxtaposed an elongated, ballgown-esque train. The rare shade of orange served as a bold backdrop for her engagement ring debut. That's right, Zendaya flaunted her Jessica McCormack sparkler from fiancé Tom Holland for the first time on the Golden Globes carpet. That viral moment alone deserved a trophy.

Zendaya has RSVP'd "maybe next time" to the Oscars since 2024—her fifth Academy Awards. (Dune: Part Two scored a Best Picture nomination last year, but Zendaya sent support from afar.) In 2024, Roach commissioned Armani Privé for Zendaya's custom creation. The one-shoulder gown's pink, liquified organza and gunmetal silver sequins evoked the nostalgic charm of Old Hollywood stars. The subtle curl of her side-parted bob was the cherry on top of the red carpet's most glamorous look.

Zendaya's Oscars gowns showcase just how much her style has evolved over the last decade. She made her Academy Awards debut in 2015, at just 18 years old. Four years into her collaboration with Roach, he dressed Z in an off-the-shoulder Vivienne Westwood gown. Turns out, she "kind of snuck onto the red carpet," according to a 2024 Vanity Fair interview.

The white gown was "amazing" and classically understated, but it mainly spotlighted her history-making locs. She instantly faced discriminatory backlash toward her hairstyle, but Zendaya has never regretted her choice: "My wearing my hair in locs on an Oscar red carpet was to showcase them in a positive light, to remind people of color that our hair is good enough," she added.

Zendaya skipped every major award show (apart from the Oscars) during the 2026 season, but that could change next year. Over the next nine months, The Drama, The Odyssey, Spider-Man: Brand New Day, and Dune: Part Three, all starring Z, will hit theaters. Hopefully, this means one (if not most) of her projects will be frontrunners in the 2026 award season race. With two-time Academy Award winner Christopher Nolan directing The Odyssey—and a stacked cast list of Matt Damon, Anne Hathaway, and more—the odds of Zendaya gracing the 2027 Oscars red carpet are good. Join me in manifesting her grand return.

Only one nominee can take home a little golden trophy in each category at the 98th Annual Academy Awards. But on the Oscars red carpet, a special group of nominees, winners, and guests gets to share the 2026 best-dressed title. And for anyone who's watched this year's awards season circuit, from the Golden Globes to the BAFTAs to the Actor Awards, the standouts from the Oscars will look very familiar.

Many of the names worthy of an Academy Award for their red carpet style have been refining their signature look over the past three months of speeches and step-and-repeats. Tonight, they delivered the pinnacle of their personal style. First came the eventual Best Actress winner Jessie Buckley in custom Chanel referencing the late, great Grace Kelly; then came Anne Hathaway nodding to the script of the Devil Wears Prada in floral Valentino. Emma Stone, Wunmi Mosaku, and Chase Infiniti all wore Louis Vuitton—but each one tapped the atelier to play to their strengths, from an appreciation of bold colors to '90s-inspired simplicity. Teyana Taylor, long a fan of naked dresses, combined sheer fabrics with starry embellishments and an extravagant feathered skirt by Chanel. And while she technically skipped the red carpet, Zendaya's surprise Louis Vuitton dress deserves a shout-out too.

Ahead, catch up on Marie Claire''s edit of the 12 best-dressed stars from the 2026 Oscars red carpet. There weren't any dark-horse winners here—if you've been paying attention, you knew these women would make the list.

Teyana Taylor wearing Chanel

Teyana Taylor has leveled up her red carpet style with every stop on the One Battle After Another awards circuit. Tonight, she delivered a look that got the entire Marie Claire Slack channel to freeze in its tracks.

In her first red carpet dress by Chanel creative director Matthieu Blazy, Taylor proved that the codes of even the most traditional fashion houses can be remixed in the name of Hollywood's biggest night. Hints of feathers and sparkle can feel classically Chanel, but applying them to a semi-sheer bodice and a giant feather skirt is straight out of 2026. A Tiffany & Co. necklace featuring more than 18-carats of diamonds added almost more sparkle than the step-and-repeat could handle.

Rose Byrne wearing custom Dior Couture

Rose Byrne told Marie Claire ahead of the 2026 Actor Awards the one feeling she's chased with every red carpet look: "elegance." She got there with this strapless, beaded gown by Dior. Styled by Kate Young, Byrne pulled back her hair into a slick bun and limited her beauty to a bold, red lip, the better to draw attention toward the beaded flowers in bloom all over her corset and skirt.

Many of Dior's red carpet looks under new creative director Jonathan Anderson have included riffs on his runway collections. At Paris Fashion Week, Dior showed a Fall 2026 line-up defined by water lilies and airy blossoms. Those motifs immediately came to mind when Byrne hit the carpet; at the same time, it read like Anderson giving Byrne her flowers for her first-ever Oscar nomination.

Jessie Buckley wearing Chanel

At first glance, Jessie Buckley's entry to the best-dressed list is an expert lesson in controversial color combinations. Lipstick red and peony pink aren't an obvious pairing, but her off-the-shoulder Chanel gown makes it look effortless.

But this look isn't just about first impressions—it's about the research. Ahead of her Best Actress win, Buckley dressed the part by referencing another legend of the screen. She and stylist Danielle Goldberg paid homage to Grace Kelly's 1956 Oscars gown with this custom creation.

Chase Infiniti wearing custom Louis Vuitton

It's easy to forget that Chase Infiniti isn't just making her Oscars red-carpet debut this year; Best Picture nominee One Battle After Another is her first movie, period. But Infiniti, and styling duo Wayman + Micah, have tackled carpet after carpet like a seasoned team.

All season, Infiniti has dressed in a range of custom Louis Vuitton gowns. The streak reached its pinnacle in tonight's look: a corseted, lilac dress with a half-ruffled skirt and halter neckline. A De Beers London red-carpet choker kept the look youthful and glamorous at the same time. She may not have been nominated tonight, but no one can doubt this look is the start of an illustrious red carpet career.

Demi Moore wearing custom Gucci

Feathers shaped up to be a major 2026 Oscars red-carpet trend. Demi Moore was first to soar onto the step-and-repeat in her custom Gucci dress. Stylist Brad Goreski said Moore wanted to feel like a "work of art" while serving as an Academy Awards presenter. Between the raven-black plumes grazing her chin and the flecks of emerald green glimmering in her skirt, we say, mission accomplished.

Wunmi Mosaku wearing custom Louis Vuitton

Nine months pregnant, and on the 2026 Oscars red carpet? Sinners star Wunmi Mosaku makes it look easy. With Louis Vuitton providing a mermaid-green gown, David Yurman offering red-carpet jewels, and stylist Shameelah Hicks tailoring it all to perfection, Mosaku showed an entirely new dimension of maternity style while celebrating her nomination. "I've always felt quite excluded from the fashion industry, and I feel like this is the first time I've felt really embraced by it," she exclusively tells Marie Claire in our column, The Close-Up.

Mosaku has worked with a mix of Nigerian designers and maisons like Louis Vuitton throughout awards season. Tonight, she paid homage to the Nigerian diaspora with an intricate up-do inspired by her heritage.

Anne Hathaway wearing Valentino

Anna Wintour declined to comment on Anne Hathaway's 2026 Oscars red-carpet dress when they presented the Best Costume Design award side by side. Marie Claire is happy to step in. The actress cleverly nodded to her Devil Wears Prada character, Andy Sachs, in an all-over floral gown by Valentino. For those who don't have the movie memorized, it's clearly a nod to one of one of the film's most famous lines—cementing "florals for spring" as anything but "groundbreaking." But at the Academy Awards, Hathaway and her Bulgari high jewelry proved blooms are a seasonal requirement on the red carpet.

Audrey Nuna wearing custom Thom Browne

K-Pop Demon Hunters star Audrey Nuna has worn Thom Browne all awards season long for a sentimental reason: Her grandfather was a garment manufacturer, and Thom Browne was one of his clients. Now, she's paying tribute to her family's legacy in fashion with Browne's most unexpected design yet.

The house is best known for preppy jackets and a palette of red, white, gray, and navy, extending from trompe-l'œil dresses to a recent Asics sneaker collaboration. But the 2026 Oscars, where K-Pop Demon Hunters would eventually win Best Animated Picture, deserved something out-of-the-ordinary. So Nuna instead convinced the house to try a gilded golden bodice, with sequins dripping onto a voluminous skirt. Here, flipping the script more than pays off.

Emma Stone wearing Louis Vuitton

It's a guarantee at every single awards show: Emma Stone and stylist Petra Flannery will turn out a custom Louis Vuitton look. While we know who Stone will wear, we can't always predict what the duo will turn out. The Bugonia star's dress for the 2026 Oscars was a welcome minimalist swerve: short-sleeved, coated in pailettes, and entirely open in the back. According to E! News, the dress required 600 hours of handwork to complete, before a slate of Repossi diamonds enhanced its shine. It shows: It's a work of understated art.

Elle Fanning wearing custom Givenchy by Sarah Burton

Elle Fanning is proof that second is the best: The 2026 Oscars are only her second-ever, and she's delivered an even more memorable Givenchy gown than last year's debut. Once again working with stylist Samantha McMillen and Givenchy creative director Sarah Burton, Fanning chose a princess gown in every sense of the phrase. From the ballgown skirt to the hand-placed wisteria-petal detailing and Cartier jewels circa 1903, Fanning looked like red-carpet royalty.

Odessa A'zion wearing Valentino

Odessa A'zion has spent her Marty Supreme press run in deliberately undone looks with couture labels, from Armani to tonight's Valentino. She brought a bohemian sensibility to the 2026 Oscars red carpet in a jacket spangled with celestial embellishments, accented with studded sleeves. The final touch? She told E! News the look wouldn't have been complete without "throwing on" layered necklaces by Pandora.

Zendaya wearing Louis Vuitton

Most years, Kylie Jenner is the only celebrity sneaking into the Oscars late. But for the 98th Annual Academy Awards, the title of most fashionably late arrival went to Zendaya. After Law Roach teased her arrival, Z joined The Drama co-star Robert Pattinson to present the award for Best Director in a custom Louis Vuitton gown. A recent streak of bridal white dresses ended in favor of a chocolate brown, minimalist dress, featuring a slanted, single shoulder and draping along her hips. Simple, elegant, and very much worth the wait.

From ages 14 to 18, I wore my hair exclusively in a "pouf." It was cool. I promise. But as we inched out of 2015, the style, which was admittedly a little Jersey Shore-coded, faded. But, I'm thrilled to report that Anne Hathaway is bringing it back—with a twist.

The actress, who presented at the 98th Academy Awards (with Anna Wintour no less), arrived on the red carpet outside the Dolby Theater on Sunday, March 15, with her hair pinned back in a voluminous half-up, half-down hairstyle. The upper layer was heavily teased (love a good backcomb), fastened at the crown of her head, and blended into loose, cascading curls.

I can confidently say that this is much less Bumpit-looking than the style of my youth. Instead, her hairstylist balanced the teased volume with extra-long extensions to create balance and a flyaway wand to smooth any rogue hairs.

Looking back on her recent red carpets, I can confidently say that this is one of her boldest hair looks, and selfishly, I'm hoping the risk-taking continues as her The Devil Wears Prada 2 press tour kicks off. The movie premiere is quickly creeping up (!!), with a global premiere on May 1, 2026.

I'm obviously a massive fan of the original; as a magazine editor and someone who went to the same high school as Lauren Weisberger, I feel it's my duty to have watched the film 50 times. So it shouldn't come as a huge surprise that I've been stalking every TikTok clip secretly snuck from filming, and the photos that get released from set. The TLDR: Andy Sachs's hair in the second film is pretty, well, plain. So for now, I'll just be crossing my fingers that this bold hair trend continues.

Ever since Mikey Madison won Best Actress at the 2025 Oscars (at just 25, no less) for her role as Ani in Anora, I’ve been curious what her next Academy Awards red carpet moment would look like. Tonight, Sunday, March 15, the actress returns to the Dolby Theatre—as a 2026 presenter—and if there’s one thing Madison consistently gets right on the red carpet, it’s the hair. This year she did a complete 180. Madison arrived with long, dark, tousled waves and a dramatic deep side part, a much sultrier shift from last year’s sleek bun and soft baby-pink glam.

The deep side part and glossy, brushed-out waves feel very Old Hollywood, with a slightly undone twist that reads cooler for 2026. Paired with fresh, understated makeup—luminous skin, softly defined eyes, and a muted rose lip—the overall effect feels undeniably seductive. And that vampy red, high-slit gown really drives the mood home.

For the occasion, Madison worked with her go-to hairstylist, Rena Calhoun, who tells me that the goal was to match the richness of Madison's dress. "She’s such a star, and we really just wanted her to exude that feeling," Calhoun says. "She’s in a gorgeous velvet custom Dior gown; I knew I wanted the finish of the hair to feel just as rich and luxurious."

Calhoun created the hairstyle using Hair Rituel by Sisley Paris, the brand’s luxury haircare extension of its iconic skincare line. The formulas focus on scalp health and lightweight shine—two things that become especially noticeable under the unforgiving lights of the Oscars carpet. Shop her red carpet look, below.

Shop Madison's Hair Essentials at the 2026 Oscars

Sometimes I think it's too bad that there's no award category for Best Red Carpet Glam. If there was, I'm convinced Teyana Taylor would have that one in the bag already.

The actress and singer is nominated for Best Supporting Actress at the 2026 Oscars tonight for her role as Perfidia Beverly Hills in Paul Thomas Anderson's One Battle After Another. It's her first time ever being nominated for an Academy Award, and given the significance of the night (and her track record for becoming a headline just by merely touching a red carpet), I already knew she'd show up in stunning glam that I'll likely be thinking about for the rest of the night.

Taylor made her entrance in a Chanel naked gown that was embellished with crystals and feathers and featured a sheer bodice. As to be expected, she wore her signature eye makeup look, which is a dramatic, black cat eye along with a '90s-style supermodel lip. Her hair for the night was styled by her longtime hairstylist, Nikki Nelms, who added tiny, feathery curls to her pixie cut and made her look like a literal angel on Earth.

Cropped cuts follow closely behind the bob as what hair experts are predicting will be the most requested hairstyles this spring. "The edgy pixie is back with more contrast—shorter sides, length on top, and a strong shape that feels confident and modern,” hairstylist and The Salon Project founder, Joel Warren, previously told MC. The pixie cut is modern and trendy, yes, but the good news is that maintaining one isn't actually that difficult. If you're considering shedding some length and showing a photo of Taylor's whimsical pixie cut to your hairstylist at your next appointment, read ahead for some styling tips.

You've got to respect Priyanka Chopra-Jonas's dedication. No matter the year, the weather, or her date—if the actor is attending the Academy Awards, she's going to wear an all-white dress, come hell or high water. This was true in 2016, it was true in 2017, and it was true tonight, on the 2026 Oscars red carpet.

Like clockwork, the presenter arrived dressed all in white. Though she's worn naked dresses and embellished styled in previous years (more on that, ahead), today's Dior gown featured a structured bodice, with elegant draping and a dramatic slit on the skirt. Though she skipped out on any sequins or beads, Chopra-Jonas made an impact with a feather-like fringe trim, which gave her look a distinct Old Hollywood feel.

Diamonds and sapphires on her ornate Bulgari High Jewelry necklace, were the actor's only source of sparkle—and sparkle they did. She completed the look with black pointed-toe heels, matching the flecks in her skirt's feathers.

Tonight marks Chopra-Jonas's third time at the annual Academy Awards. She walked the red carpet for the first time back in 2016, when she wore a mesh naked dress from Zuhair Murad. The naked number was was embellished with ivory blooms and had a metallic belt detail.

The following year, she RSVPed "yes" for the second time, arriving in yet another all-white outfit. This time, she chose a strapless Ralph & Russo gown with a geometric print made of silver and white triangles.

Chopra's streak of white dresses could even extend to the Vanity Fair Oscars Party—though we'll have to wait a few hours to know for sure. Either way, this is a tradition I can get behind.

Anne Hathaway doesn’t need a starring role in The Devil Wears Prada—or the forthcoming sequel, for that matter—to prove she’s a style icon. Nonbelievers need only look at her gown on the 2026 Oscars red carpet in Los Angeles for proof of her card-carrying status. Hathaway is also rumored to be part of a Devil Wears Prada–themed Oscars moment tied to the upcoming sequel, which makes the reference feel especially timely tonight.

Hathaway has lived on my best-dressed list for years—lest we forget the time she co-hosted the ceremony in 2011 and wore a whopping eight looks over the course of the evening—and this year is no different. For her first Oscars appearance in over a decade, The Idea of You actress stunned in a stunning floral gown.

The look for the 2026 Oscars, crafted in part by her longtime stylist Erin Walsh, consisted of a black floral mermaid-style strapless gown and matching opera-length gloves by Valentino. Her jewels come courtesy of Bvlgari and are the debut of the brand's new Eclettica high jewelry collection. So, naturally, Hathaway opted for a stunning necklace-and-earrings combination that only added to her Old Hollywood vibe.

As for red carpet glam, Hathaway opted for her classic soft curls. However, instead of wearing them down, her tresses were styled in a romantic half-up-half-down style. A rosy makeup look, complete with the most enviable pink-nude lip ever, rounded out her look.

Hathaway’s most memorable Oscars look has to be the now-iconic pale pink satin Prada column gown she wore in 2013. With her adorable side-swept pixie cut and sparkling silver choker necklace, she was the vision of modern Hollywood royalty. It now feels strongly contrasted from tonight's vampy look.

That night, she went on to win her first Oscar—Best Supporting Actress—for her performance as Fantine in Les Misérables. It was her second-ever nomination, the first having come in 2009 for Rachel Getting Married.

Luckily, I haven’t had to wait over a decade to see another show-stopping look from Hathaway. I only need to turn my attention to her fashion-week style for my fix. Most recently, she donned a sheer black halter dress and a coordinating feather boa at Ralph Lauren’s Fall 2026 show. Soft, bouncy curls and her signature just-bitten makeup completed the look, giving it an all-American—yet still cool—feel. If anything, it should have acted as a hint for what she would pull off on the Oscars red carpet.

Despite how hectic life can seem these days, there are a few things that remain consistent in my life: Every A-lister will wear their very best looks on the Academy Awards red carpet, and Gwyneth Paltrow will top that list. She just arrived at the 2026 Oscars—for the first time in over a decade!—in a gown that only solidified both of those facts in my mind. Of course, I have all the details.

The Marty Supreme star, who is presenting, opted for an ivory silk strapless gown custom-designed for her by Giorgio Armani Privé. The full look was built in collaboration with her longtime stylist, Elizabeth Saltzman, and featured cutouts on the sides that went—wait for it—all the way up her body, covering her in sheer crystal-embellished tule. A glitzy necklace and a matching ring, both from Tiffany & Co., and heels from Christian Louboutin completed her timeless look.

As for her beauty look on the carpet, Paltrow stuck to her classic, California Girl vibe. Her long blonde hair was down with blowout softness that settled in loose bends at her collarbone. Her skin was kept radiant and neutral to match. A subtle smoky eye completed the soft glam look.

Paltrow isn't an Academy Awards newbie. She has stepped onto the iconic red carpet nine (!) times in the past, which makes her one of the best-dressed vets in the game right now. Her most iconic look of them all—and trust me, there are several that live on my moodboard—came in 1999.

That night, the actress and daughter of actress Blythe Danner and television director Bruce Paltrow donned an unforgettable baby pink taffeta Ralph Lauren confection. She went on to win her first and only Oscar (so far) that evening for her role as Viola De Lesseps in Shakespeare in Love, and the gown was cemented into '90s fashion history.

Fast forward to 2026, and it's safe to say Paltrow saved the best of her awards season gown for the film's biggest night—but that won't stop me from thinking about her Actor Awards look, which had previously topped the list of my favorite looks of hers, ever. She's been toying with showing more skin this awards season, and I'm into it.

There, she donned a black, tea-length lace gown from Givenchy. It featured an unexpectedly sexy plunging deep-V neck line with sheer panelling throughout the bodice. A pop of color came courtesy of a set of turquoise Belperron earrings. It elevated her quiet-luxury style to new, glamorous heights.

Tonight's cut-out dress is an example of a textbook Oscars red carpet comeback. Still, here's hoping we won't wait that long to see her remix cut-outs again.

Emma Stone sticks to a theme when it comes to red carpet looks. She loves a simplistic silhouette, a column skirt, and a subtle hint of shimmer. She never wears print, and she keeps accessories to a tasteful minimum.

Tonight, the actor is nominated for Best Picture and Best Actress for her lead role in Bugonia. Naturally, her 2026 Oscars look was Emma-coded through and through. Stone walked the annual red carpet in a cap-sleeve gown with a low-cut neckline and an even lower back.

The dress—a custom Louis Vuitton creation—was the picture of understated elegance, covered in tens of thousands of shimmering pearlescent beads.

Stone has already attended several high-profile red carpets this year and has remained loyal to her styling rules on each and every one of them. Just two weeks ago, she attended the Actors Awards in another LV design. The gown was conceptually similar, with the only notable difference being the beaded jacket she wore on top.

In January, Stone kicked off the 2026 award show circuit in yet another beaded column number. She wore a butter yellow maxi skirt and satin crop top, also by Louis Vuitton, at the Golden Globes.

What can I say? The woman has a uniform.

The 2026 Oscars are airing tonight, March 15, and the red carpet deserves its own moment altogether. From the gowns to the makeup looks, Hollywood’s biggest stars are dressed to the nines in hopes that they will take home one of film's most coveted trophies. My eyes have been zeroed in on all of the beauty moments that have graced the carpet, and Elle Fanning’s in particular needs to be discussed.

Nominated for her role in the movie Sentimental Value, Fanning is up for the Best Supporting Actress category tonight. She arrived on the red carpet looking ethereal in a custom Givenchy gown embellished with wisteria petals that matched her Cartier jewels. Still, it was her fresh-faced glam and sleek hair that pulled the look together.

Fanning's hair was pulled into a sleek, low bun, a look that showed off her stunning diamond choker necklace (the whole look is giving princess with the stunning jewels, TBH). The look also highlighted her rosy cheeks (snatched to the heavens courtesy of a facial by Louise Deschamps using the NuDerma High Frequency Wand) as well as her glossy lip color. Her brows framed her face perfectly, and a neutral manicure completed the ensemble. To be frank, she looks like a winner already.

While there are still quite a few looks to come, Fanning's is already one of my favorites of the evening. Keep up with tonight's award show coverage via Marie Claire's live beauty blog, and take a look at some of the best beauty looks of the night so far.

Shop Elle Fanning's Beauty Details for the 2026 Oscars

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Emma Stone just hit the red carpet at the 98th Academy Awards, where she's up for the Best Actress award for her role in Yorgos Lanthimos's Bugonia. If she wins tonight, it'll be her third time taking home the trophy, but in my opinion, she deserves a fourth just for officially making it to cunty little bob-length and successfully avoiding the awkward grow-out phase that follows a pixie cut.

Tonight, Stone is wearing a shimmery Louis Vuitton gown with short sleeves and a square neckline. She hit the carpet wearing minimal makeup, save for a peachy lip color, and as always, she tapped celebrity hairstylist and RŌZ Hair founder, Mara Roszak, to style her hair for the evening. After spending the last year giving us all a masterclass on how to grow a pixie cut (the one that she debuted at last year's Golden Globe Awards), Stone is now officially a citizen of bob-land, and her jaw-length hair was styled with a mini flip at the ends and a deep side part.

"For the Oscars, I wanted a '90s blowout with soft movement in Emma’s bob, keeping it feeling fresh, modern, and full," Roszak said in a statement. "The look was polished but effortless—soft volume, subtle bend, natural volume and subtly brushed through."

Bobs are already popping up everywhere on the red carpet tonight, which isn't shocking considering it's been the hairstyle of choice among women in Hollywood throughout the last year. Black-ish alum, Marsai Martin, showed up tonight wearing a lightly tousled, angular bob while Brazilian actress Bruna Marquezine arrived wearing a chin-length, flippy bob. Isabela Merced also appeared with her hair styled in an edgy, chin-length bob with a blunt bang, proof of just how versatile the cut really is. “Clients are loving it because it feels fresh, chic, and easy to personalize,” hairstylist Juan Flores previously told MC about the bob.

If the bob happens to be your haircut of choice this spring, read ahead for a few styling tips.

Kirsten Dunst never, ever disappoints on a red carpet. Here's the thing: I always expect the former Marie Claire cover star to show up with her honey-blonde hair perfectly toned and generally subdued makeup (although I would really love to see her in some bright eyeshadow one of these days). But, I also have the utmost confidence that she's going to throw in a little something unexpected and fun to her beauty look, be it a side part or a bold lip.

For the 2026 Oscars on Sunday, March 15, that little something was perhaps the glowiest skin I've seen all night. And the best part: it's courtesy of a $27 (!!) K-Beauty serum you can buy on Amazon. Makeup artist MelanieInglessi used the D'Alba Double Serum & Cream 2-in-1 Moisturizer, which combines serum and cream into one. It leverages the hydrating and calming benefits of Italian truffle (yum) and vitamin E to prep skin for a flawless makeup base. "

She's a dreamboat. For this look, we really wanted to create a timeless, chic, elevated, modern version of herself," Inglessi tells me over the phone as soon as Dunst heads off to the carpet. "More and more we're seeing skin with not as much coverage on the red carpet. Years ago, that wasn't a reality. Skincare is so important these days."

When it came to makeup, it was Dior to the rescue. She used the new Forever Skin Glow Foundation. "I didn't want a smokey eye or a red lip. I didn't want anything to stand out—just an overall well-balanced look," Inglessi says. But! She did make room for a huge 2026 spring makeup trend: lip stains. "They're so popular right now; mine is a mix of a cool-girl stain and a proper Hollywood lip—they're slightly overdrawn with a slate-colored brown pencil and then the stain in the middle," she adds. To tie up the beauty look in a bow, hairstylist Gregory Russel slicked her hair back into a spiky bun.

Want to recreate this glam at home? Shop all the products Inglessi had on hand, below.

“A risk taker—now, that’s one thing you always know I’ve been,” Teyana Taylor told Marie Clare in her March 2025 cover story. The actor, singer-songwriter, aspiring chef, and dancer is famously not afraid of trying something new. You see it in her style, too: on the 2026 Oscars red carpet, Taylor wore a feather-fringe, silver-sparkle Chanel naked dress—certainly not a fashion choice for the faint of heart.

Nominated for Best Supporting Actress for her role as Perfidia Beverly Hills in One Battle After Another, her first-ever Academy Awards nomination, Taylor and stylists Wayman and Micah knew tonight warranted the fashion big guns. Taylor's 2026 Oscars dress featured a sheer spaghetti-strap black bodice, embellished with stripes of silver crystals. Tiers of black and white feathers started at her waist and cascaded down to the tip of her train.

It was undeniable, a head-turner yet also classical and cool—all words that perfectly describe the multi-multi-hypehnate as well.

On the March 15 red carpet, the star and her stylists strategically chose jewelry that would up the high-shine ante of Taylor's look: a platinum necklace with a diamond over 18 carats and toi et moi diamond studs from Tiffany and Co.

It’s been a banner year of scene-stealing red carpet looks for the star. On the 2026 Golden Globes red carpet—later that night, she took home the Best Supporting Female Actor in a Motion Picture trophy for her OBAA performance—Taylor chose a custom Schiaparelli Haute Couture gown that was a masterclass in strategically placed cut-outs. From the front, the Daniel Roseberry-designed dress had dark silk panels draped around her bust and neckline, gathered at her hip, and cascading down as a deceivingly simple little black dress.

Sike! An additional cut-out made way for “butt cleavage” and what the brand calls a "silver-rhinestone bijou thong." As Taylor told E! News on the carpet that evening, “the crack is covered in diamonds,” and her look screamed "expensive".

She kept the clever cutout theme going at the 2026 Grammy Awards. Taylor, who was up for her first-ever gold gramophone in the Best R&B Album category for ESCAPE ROOM, matched the moment's significance with an instantly iconic bronze Tom Ford gown. Featuring asymmetric stripes of sparkling fabric that delicately covered her breasts, torso, and a cheeky glimpse at her butt, it was a certified head-turner. Adding to the impact of Taylor's Grammys gown were her Tiffany & Co. Link earrings—a longstanding celeb favorite—and a lariat necklace from the same collection. The wrap-around style, which costs a casual $33,000, dangled down to almost her belly button.

Taylor’s 2026 Chanel Oscars dress feels like the natural conclusion to her historic award-circuit run. It begs the question, too: Is fashion the next frontier Taylor will choose as her next side-quest and career adventure?

Nobody was happier to be on the 2026 Oscars red carpet than Elle Fanning. And who wouldn’t be in her shoes, as a first-time Academy Award nominee, in a Givenchy dress custom-designed by Sarah Burton, and with her boyfriend of three years, Gus Wenner, by her side?

The Sentimental Value star, who’s in the running for Best Supporting Actress for her role in the Lars Von Trier film, was joy personified when arriving at the Dolby Theatre in Los Angeles on Sunday, March 15. Dressed by her long-time stylist, Samantha McMillen, Fanning's Givenchy gown featured a strapless hourglass bodice and immaculate tulle ballgown that fanned out into a double train. Starting at her chest and trickling down to her skirt's hem, Fanning's dress was embellished with lavender-hued wisteria petals to create the effect of draping floral bouquets.

Speaking with a red carpet correspondent, Fanning revealed, "Sarah Burton [Givenchy's creative director] is a dear friend of mine. She and her team sewed every wisteria petal."

Wenner, unofficially up for Best Supporting Boyfriend, stepped out of frame to give Fanning her well-deserved moment. After all, her 2026 Oscars look, perhaps The Princess Gown of the evening, deserved the full, unadulterated attention of everyone within view.

Her Cartier jewelry deserves its own moment of applause, if you please. Fanning wore a leaf-motif diamond necklace from 1903, which also referenced wisteria petals with its floral design and iridescent effect.

The 98th Academy Awards is only Fanning’s second time attending the storied film ceremony. She made her Oscars debut last year in an ivory, all-lace gown designed by Sarah Burton for Givenchy. Fanning’s 2025 Oscars red carpet look featured a black bow wrapped around the waist, a slightly plunging sweetheart neckline, and a sweeping A-line silhouette that had its hem kissing the floor.

For sparkles and shine, the A Complete Unknown star opted for one brand only: Cartier, which tracks, considering her position as a global ambassador for the heritage jewelry house. The star accessorized with a vintage pavé watch and ring from the archives, as well as a draped choker necklace from 1958.

Throughout her Hollywood career, Fanning has honed a signature classically feminine style. An exquisite example of her penchant for delicate, soft, and romantic pieces was the silver, floral-encrusted Gucci gown she slipped into for the 2026 Golden Globes. The custom dress, covered top-to-toe in sparkling appliqués, featured a deep V-neckline and a fitted bodice that tapered at the waist. A subtle, few-inch-long train trailed behind the actress, helping her to steal focus on the red carpet.

A one-of-one Cartier High Jewelry diamond necklace accented her light-catching, floral-bedecked Gucci gown. Dubbed the Pavocelle, named after the Latin “pavo” for peacock, and the French word “ocelle,” meaning the eye of a peacock’s tail feather, the piece comes with an oval 58.08-carat sapphire from Sri Lanka. Though Fanning chose to simplify, removing the necklace’s center gemstone for her 2026 Golden Globes red carpet, to lead with the look of crystal-clear diamonds.

But let’s circle back to the present moment. Grinning from ear to ear and draped in Givenchy on the 2026 Oscars red carpet, it’s a pleasure to watch Fanning have so much fun at a ceremony that can, occasionally, skew toward stuffy. Here’s hoping her enthusiasm channels good luck later, when the winners are named and the trophies handed out.

When it comes to Demi Moore's Oscars looks, no two are the same. In fact, in the 37 years she's been attending, each ensemble has been drastically different from the rest. This statement held true at the 2026 Academy Awards, when the actor—who will be presenting at the 98th Annual awards—arrived to the red carpet covered in iridescent feathers.

According to Moore's stylist, Brad Goreski: "Demi wanted to wear something that was a work of art," he told E! News during the red carpet pre-show. And so she did, dressed in an elaborate Gucci creation, complete with a plumed train. Moore accessorized with emerald jewelry to highlight the gown's metallic green undertones.

This look is a far cry from anything she's worn before. The Substance actor attended for the very first time back in 1989. For her debut Academy Awards, Moore chose a DIY look she created herself. The high-low number combined Spandex bike shorts, a velvet printed bodice, and a metallic gold skirt detail. Regardless of your opinion on the look, you've got to respect her confidence.

Four years later, Moore returned to the annual awards show—this time, wearing archival Versace. The dusty lavender gown—which came with matching opera gloves—was designed by Gianni Versace himself and featured floral appliqués across the chest.

Nearly 20 years later, the actor returned to the red carpet, once more. In this instance, she chose a peachy strapless gown covered in chiffon ruffles, from Atelier Versace.

For Moore's most recent Oscars, she chose a dazzling custom mermaid dress from Armani Privé, styled by Brad Goreski. The sparkler was covered in thousands of sequins and rhinestones, and featured a draped detail at the hips, which created an hourglass illusion.

Even with decades of red carpet moments under her belt, this year's look takes the cake.

Jessie Buckley’s beauty looks are taking a more experimental turn lately, which makes her Oscars appearance all the more fun to watch. Between her gothic couture moment during the London The Bride! premiere and the softer elegance of her Hamnet appearances, the Best Actress nominee has been moving between aesthetics with A-lister ease. Tonight, Sunday, March 15, at the 2026 Academy Awards, Buckley arrives at the Dolby Theatre as a nominee for her performance in Hamnet in one of her most playful beauty looks yet.

For Hollywood’s biggest night, she wore her hair in a super sleek, side-parted blonde pixie polished to a mirror-like shine—the kind of glossy finish that makes a short cut feel especially striking on the Academy Awards carpet (and on par with her nomination). I also can’t help but see this as a bit of a spring beauty trend preview: glassy hair in shades of "sparkling blonde" and makeup that features bright pops of color.

It’s a fun choice for Buckley, who pairs the short chop with a vibrant red lip that mirrors the scarlet fold of her two-tone Chanel gown, tying the entire look together.

The contrast works beautifully: the sculpted pixie keeps the look modern, while the bold lipstick and dramatic neckline bring the glamour. Buckley perfectly balances playful and polished on the red carpet, without sacrificing on fun for the big night. Her envious "sparkling blonde" hair color was created using Schwarzkopf's professional line by Jacob Schwartz. As for the rest of her glam, Buckley's skin is luminous and glowing, with a minimal eye look that has a touch of highlight in the inner corners.

And if you've ever wanted to know how an A-lister smells on one of the most important events of their career, her go-to hairstylist, Bryce Scarlett, clued us in: he layered Initio Parfums Privés Hair Perfume and Extrait de Parfum in Musk Therapy for a soft, skin-like scent—the perfect cherry on top to what's set to be a huge night for the actress.

Shop Buckley's Look

I, like most viewers who saw Hamnet, bawled like a baby watching Jessie Buckley portray a grief-stricken mother in Chloé Zhao’s film loosely inspired by William Shakespeare’s family. So seeing Buckley on the 2026 Oscars red carpet felt emotional all over again—not from lingering sadness, but out of secondhand pride for the singular talent, who entered the 98th Academy Awards as a Best Actress frontrunner.

Dressed by every fashion girl’s favorite stylist, Danielle Goldberg, Buckley certainly looked like an Oscar winner in a pink-and-red Chanel gown designed by Matthieu Blazy. Red silk satin wrapped tightly around Buckley’s torso, while ballet-slipper pink chiffon gathered at her waist before cascading into a long train.

E! News correspondents revealed that Buckley’s 2026 Oscars dress was inspired by Grace Kelly's 1956 Oscars dress, the forever blueprint for Hollywood elegance. Seven decades ago, the American actress and Princess of Monaco wore an Edith Head gown, fit with a chiffon ball skirt, cinched waist, and satin capelet.

Adding to the classic glamour were Buckley’s Chanel High Jewelry diamond necklace, ring, and earrings, all rendered in 18-karat white gold. Her add-ons were sparkly yet subtle, a masterclass in the minimalist philosophy that less is more.

This is Buckley’s second Oscars nom, her first being a Best Supporting Actress nod for her role in The Lost Daughter (2022). Four years ago, Ariana DeBose ultimately took home the trophy for her role in West Side Story. But, tonight, it’s easy to imagine the Irish actress triumphantly holding that little man statuette in a few short hours, its gold finish accented by the sheen of Buckley’s Chanel 2026 Oscars dress. And the odds are certainly in her favor, considering she’s swept the Best Actress categories at the 2026 Golden Globes, BAFTAs, and Actor Awards.​

Not only is the Irish star exceptional at her craft, but she’s also proven to be committed to red-carpet method dressing for each of her roles. When promoting Hamnet, Buckley opts for a minimal, ladylike aesthetic. A perfect example is her custom Dior gown at the 2026 Golden Globes, which designer Jonathan Anderson crafted from sweet baby blue satin embossed with flowers. The gown reflected Anderson’s offbeat, often quirky POV, with an asymmetrical slit cutting across Buckley’s leg and a swooping sleeve that draped across the torso and transformed into a long, capelet-like detail.

The same goes for the simple yet striking indigo velvet Chanel dress the Hamnet actor wore at the 2026 BAFTA Awards. Newly appointed and highly lauded creative director Matthieu Blazy reimagined a long-sleeve gown from Chanel’s Métiers d'Art Spring 2026 edit into a sleeveless style with rose-motif brooches on each shoulder, a draped cowl back, and a lace-up corset on the lower spine.

Now, compare that to Buckley’s looks when representing The Bride! It’s an astoundingly impressive pivot. At the Bride of Frankenstein adaptation's February 26 London premiere, Goldberg sourced a gothic-inspired half-naked gown from Maison Margiela's Spring 2024 Couture collection. (Remember Pat McGrath’s viral, porcelain doll makeup that had the internet in a full-on tizzy? Yup, that runway show.)

The dress itself was relatively simplistic, rendered in sheer black chiffon, with visible stitching down the bust and along the waist, and a front-pleated skirt. Peering out from underneath was a nude, warm-toned bodysuit and waist-cinching underbust corset. All in all, it was risque, dramatic, and fitting of the gothic romance.

Buckley’s ability to swing from dark and edgy to classically minimal is not an easy feat, and again, it speaks to her incredible versatility as an actress. When she steps onto the stage to accept her well-deserved Best Actress trophy later tonight, you already know I’ll need tissues at the ready.

Surprise: Kylie Jenner just teased her look ahead of the 2026 Academy Awards red carpet. While the youngest Kar-Jenner sister has been opting for all-black looks on the awards show circuit, from vintage Versace to skin-tight Mugler, she swapped it for another monochromatic vibe—cherry red.

This stunning look, custom-made for her by Schiaparelli, is coated in wet-look sequins. A plunging halter neckline, a signature keyhole cutout, and a second-skin bodycon fit give her a modern-yet-timeless Jessica Rabbit-esque feel. But don't take my word for it: Jenner captioned the Instagram post showing off her look, "Jessica Who?"

It's a style she's worn before, and one that she's discussed wanting to wear again. In a Vogue YouTube video discussing her "Life in Looks," Jenner dished about wanting to wear the classic keyhole style again—it looks like she got her wish tonight.

As for accessories, she chose all Lorraine Schwartz Jewelry. Jenner's suite of earrings, rings, and a show-stopping necklace accounts for approximately 200 carats of diamonds.

Her Oscars glam was very "classic Kylie," with a glowy base and a bronzy shadow across her eyes. Her long brown hair followed suit with true bombshell waves. Lots of blush and a matte, pink-nude lip rounded off the look.

Jenner skipped the carpet altogether, instead opting, once again, to join boyfriend Timothee Chalamet inside the theater. The pair were spotted hand-in-hand as they made their way to their seats before the show, looking very much like the Hollywood power couple they are.

Now that we have her show look in the bag, my sights are set on Vanity Fair's Oscar party to see if Kylie turns the fete into a date night for the second year in a row. After sneaking into last year's Oscars ceremony in a jewel-encrusted Miu Miu gown, she and boyfriend Timothée Chalamet reappeared at the buzzy after-party in a pair of brand-new outfits. She opted for a lacy Ashi Studios gown, styled by sisters Alexandra and Mackenzie Grandquist, while Chalamet swapped a butter yellow set for a classic black getup.

However, it's not all sneaking around. Jenner did support her beau of three years at the Los Angeles premiere of his Academy Award-nominated movie, Marty Supreme. There, the two brought matchy-matchy couples dressing to a new level in matching orange Chrome Hearts looks.

It's too early in the night to tell whether Jenner will arrive at the 2026 Oscars on Chalamet's arm. Whether she goes solo or stands by his side, she's already delivered one of the night's most sizzling looks.

Well, we've officially made it to the end of a very eventful red carpet season (read: Golden Globes, Grammys, SAGs). There have been dozens of 10 out of 10 beauty looks so far this awards circuit—from gray hair to dreamy frosted nail polish. And let it be known that the 2026 Academy Awards are no exception.

The red carpet is well underway (Marie Claire is live-blogging our unfiltered reactions to the stars' beauty looks, FYI), and trends are already taking shape. I've seen lots of lobs, stunning lip combos (I obviously have the insider breakdown), and the boldest eye makeup that I've seen in a hot minute.

Let it be known that all of these looks have been weeks in the making. So I've made it my mission to get the product breakdowns, tips, and tricks from the incredible pros behind the glam. Scroll ahead to see my favorite looks of the night.

Chase Infiniti

I know the night is early, but these boho braids and soft pink glam are easily in my top three looks of the night.

Misty Copeland

A ballerina bun for a ballerina is obviously fitting, but can we take a moment to appreciate that there is not one hair out of place on her head? I suppose she's had plenty of practice perfecting.

Marsai Martin

I love this lob, but do me a favor and zoom in on her nails. This maroon design is simply too good to miss.

Rose Byrne

This is the classic Hollywood glam I expect on a red carpet. It's also convincing me to try orange lipstick for probably the first time in my life.

Lea Myren

The Norwegian actress did not mess around with her glam. This smokey eye (which includes a bit of red shadow) is one for the books.

Ariana Greenblatt

Bedhead! On the red carpet! The juxtaposition of this deliberately messy hair with a sleek, silky dress is just *chef's kiss.*

Maya Rudolph

I'll be recreating this eye look for my next night out. All I need is Well People's Fresh Lines Eye Pencil and a great lengthening mascara.

Kristen Wiig

The perfect finishing touch to this natural, sun-kissed glam? Well People's Tinted Lip Oil.

Zoe Saldana

The Avatar actress is repeatedly one of my favorite beauty looks on the red carpet, and tonight is no exception. Her look breakdown: skin prep with ZIIP Halo, Augustinus Bade Face Oil, and Lancôme Teint Idole Ultra Wear Foundation.

After a whirlwind award show season, the 2026 Oscars have finally arrived, and Hollywood's hottest starlets are holding nothing back for cinema's most glamorous evening, especially when it comes to the best hair and makeup looks on the red carpet. First time nominees Jessie Buckley and Teyana Taylor have already racked up their fair share of awards for films Hamnet and One Battle After Another—and have turned out award-winning glam to match—but they aren't the only first-time nominees on the guest list this year. Elle Fanning is up for Best Supporting Actress for her role in Sentimental Value, Kate Hudson is nominated for Best Actress for Song Sung Blue, and Rose Byrne is a Best Actress nominee for If I Had Legs I'd Kick You. Acting stalwarts and repeat winners and nominees like Emma Stone, Leonardo DiCaprio, and Timothée Chalamet will all be in attendance as well, so don't worry—there will be plenty of jaw-dropping glamour throughout the night.

We've already watched some of the year's most dazzling hair and makeup looks hit the award circuit around the world—the 2026 Golden Globes and 2026 Actor Awards certainly did not disappoint—and the 98th Academy Awards are already proving to be a stunning display of high-octane beauty.

Follow along for live updates, photos, and our editors’ honest thoughts about their favorite Oscars red carpet hairstyles and makeup throughout the night, and be sure to check out our fashion live blog for the best outfits of the evening.

Rose Byrne

The If I Had Legs I'd Kick You star knocks it out the part tonight with this classic red lip and chic chignon. The epitome of an Oscar-nominated star!

Felicity Jones

The former Oscar nominee proves that a '40s-style Old Hollywood curl is never a bad idea. This is also the most perfect shade of coral-meets-nude lipstick.

Chase Infiniti

Ugh I love waist-grazing braids on the red carpet. Fingers crossed we see more of Chase Infiniti after her scene-stealing turn in One Battle After Another.

Renate Reinsve

When your gown is the perfect shade of red, I beg you to follow in Renate Reinsve's footsteps and match it to your lipstick. STUN!

Misty Copeland

Prima ballerina Misty Copeland is all grace and classic glam at the 98th Oscars. I need the secret to her glowing complexion ASAP.

Bruna Marquezine

I spy a flippy bob, the hottest haircut trend of 2026 by a mile! Bruna Marquezine gives it a high-shine finish that is definitely Oscar-worthy.

Marsai Martin

Another bob sighting! This time on Black...ish star Marsai Martin. The only thing that can tear my eyes away from her cropped cut are those mile-long lashes.

Isabela Merced

Okay, I'm officially seeing triple bob energy at the 98th Oscars and I'm SO here for it! Merced added a chic blunt fringe to make the look her own—plus some flippy ends, naturally.

Tonya Lewis Lee

Gasp, this is the ideal gray-meets-champagne hair color on Tonya Lewis Lee. I'm actually speechless.

Odessa A'zion

My curl queen has arrived!! Marty Supreme star Odessa A'zion hit the red carpet with her signature spiral ringlets on full display, and I'm already reaching for my curling iron.

Jessie Buckley

YES JESSIE BUCKLEY! She looks absolutely stunning with this red lip and cropped honey blonde hair. I loved her turn in Hamnet so dearly, and she's a favorite to win the Oscar tonight. She might just be my favorite beauty look of the night as well...

Wunmi Mosaku

OMG, the iridescent and green shadow on Wunmi Mosaku—up for Best Supporting Actress for her role in Sinners—is feeding my soul. She looks so ethereal and gorgeous!

Ginnifer Goodwin

Nobody does a pixie cut like Ginnifer Goodwin. The actress paired her signature hairstyle with micro-liner and a demi-matte nude lip, plus the prettiest flush of baby pink on her cheeks.

Shayna McHale

A moment for Shayna McHale's perfect burgundy manicure, please and thank you. I love when the only pop of color is from a fierce set of nails!

Kelly Ripa and Mark Consuelos

Cute couple alert! Kelly Ripa will always bring it with the most flawless tan and fierce smoky eye makeup.

Zoe Saldaña

Zoe is here! Last year's Best Actress winner looks ravishing on the red carpet tonight, with her hair pulled back to allow her perfectly dewy complexion to take center stage (let us never forget her iconic first film).

Demi Moore

I've been waiting and watching to discover whether or not Demi Moore's hydro bob was a real haircut or a wig, and, well, now we know that the Oscar-nominated actress isn't quite ready to part with her signature strands.

Kristen Wiig

Okay, who is doing Kirsten Wiig's color these days because this is the most perfect bronde shade I've ever seen?!

Kim Coleman and Winter Coleman

If you're going to go super minimal with your glam, the skin needs to be the star. Kim and Winter Coleman more than understood the assignment!

Elle Fanning

Elle Fanning, everyone!! The Best Actress nominee looks like a legitimate princess with this rosy lip and dewy skin. The blonde low bun is so perfect on her as well. More of these vibes!

Kathy Bates

I always love to see gray hair on the red carpet, and nobody brings it like Kathy Bates. The Matlock star arrives with Old Hollywood curls and the most perfect pink lipstick I've ever seen.

Ava DuVernay

May I direct your attention to Ava DuVernay and her stunning braided bun? The director looks absolutely mesmerizing on the red carpet with her timeless updo and smoky eyes combo.

Amy Madigan

Nobody looks as cool as Weapons Best Supporting Actress nominee Amy Madigan tonight. The shades, the buttery blonde highlights, the rosy pink lip—perfection.

Emma Stone

The two-time Oscar winner is proving once again that she is the ultimate bob queen. Her bixie has grown out past her jawline for a bouncy style courtesy of her longtime hairstylist Mara Roszak.

Kate Hudson and Goldie Hawn

The ultimate mother-daughter duo, Kate and Goldie are looking beautifully blonde and glamorous this evening. Three cheers for taking your movie star mother to the Oscars!

Teyana Taylor

Be still my heart! Teyana Taylor, Best Actress nominee for her role in One Battle After Another, absolutely smashes her first Oscars red carpet as a contender this evening. The smoky eye, the perfect pixie cut, the glossy nude lip... J'adore.

Nicole Kidman

She was born to walk the red carpet in my opinion. Seriously, just how stunning is the Oscar winner with this bouncy blowout?!

Kirsten Dunst

Perennial cool girl Kirsten Dunst is serving serious face this evening, with the perfect rusty rose lip color and a slick-back bun.

Sigourney Weaver

The bobs keep on coming this evening, with Sigourney Weaver taking her signature auburn locks for a spin on the Oscars red carpet.

Mia Goth

I have a sudden urge to cut some curtain bangs after seeing Mia Goth walk the red carpet with this perfect fringe.

Gwyneth Patrow

The Marty Supreme actress is no stranger to the Oscars red carpet, and she never fails to remind me that her blonde hair is nothing less than iconic.

Priyanka Chopra Jonas and Nick Jonas attend the 98th Oscars at Dolby Theatre on March 15, 2026 in Hollywood, California. (Photo by Mike Coppola/Getty Images)

Another adorable couple has hit the red carpet! Marie Claire covergirl, Priyanka Chopra Jonas, and her husband, Nick Jonas, are the definition of high glamour this evening.

Maya Rudolph

I am totally and completely obsessed with Maya Rudolph and her freckles! I love seeing real skin tone on the red carpet. Not everything needs to be one seamless color to be photo-worthy, my friends!

Anny Hathaway

Oooh I am so here for this stunning half-up half-down hairstyle on Oscar-winner Anne Hathaway. She looks like she's more than ready for The Devil Wears Prada 2 to hit our screens in May.

Mikey Madison

Last year's Best Actress winner is looking so movie star-chic on the carpet tonight! Her glossy brunette hair is completely flawless with this side-party and soft curls.

Gracie Abrams

Okay that's it, do I need to get a bixie cut? I'm getting dangerously close to yes after seeing Gracie Abrams with her Oscars red carpet look tonight.

That's all, my dears! Thank you for following along for the 2026 Oscars red carpet, and all of the night's best beauty looks. Be sure to stay tuned for our coverage of the 98th Academy Awards show—surprising winners, most-talked-about moments, and more.

Every 2026 award show—the Golden Globes, the Actor Awards, and the BAFTAs—has led to this moment: Welcome to the 2026 Oscars red carpet. The celebrity guest list is finalized, Oscar statuettes are polished, and host Conan O’Brien is rehearsing his monologue as we speak. But wait: Before the lights dim inside the Dolby Theatre, Marie Claire is here to deliver the best live red carpet fashion updates.

As a Marie Claire celebrity fashion expert by day and award-season superfan by night, trust me when I say the 98th Annual Academy Awards will deliver standout fashion moments. Best Actress winners alone have consistently made it a night to remember, from Barbra Streisand’s naked dress in 1961 to Gwyneth Paltrow’s pink Ralph Lauren gown in 1999 and Halle Berry’s sheer Elie Saab dress in 2002. There may not be a dress code (unlike the newly-renamed Actor Awards), but preceding Oscar winners have set a high bar for modern-day nominees.

This year’s class of Best Actress hopefuls—Emma Stone, Jessie Buckley, Rose Byrne, Renate Reinsve, and Kate Hudson—is certainly up to the red-carpet task. On the fashion front, each nominee has a fighting chance of ending up on senior news editor Halie LeSavage’s post-Oscars best-dressed list. I’m also scanning the red carpet for Best Supporting Actress nominees, including Teyana Taylor, Elle Fanning, Wunmi Mosaku, Amy Madigan, and Inga Ibsdotter Lilleaas. Taylor, for one, is a sartorial wildcard, after wearing Schiaparelli, Thom Browne, Burberry, and Ashi Studio this season. Then there’s Mosaku, who could decorate her growing baby bump in any number of major designers.

Regardless of who takes home an Oscar, the evening is set up to make fashion history. Plus, ABC’s broadcast, streaming live on Hulu, will begin an hour earlier this year: 7 p.m. ET/4 p.m. PT. Marie Claire’s red carpet coverage won’t stop with the official red carpet, either. Even after the final award is presented, I’ll switch gears to the 2026 Vanity Fair Oscar Watch party, where the style plot twists will keep on coming.

For now, my fellow editors and I will share to-the-minute updates on the 2026 Oscars red carpet fashion. That includes raw, honest reactions, too…

How to Watch the 2026 Oscars Red Carpet Live

"Long before O’Brien’s hosting gig begins streaming on Hulu at 7 p.m. ET/4 p.m. PT, Chicken Shop Date star Amelia Dimoldenberg will return as the Oscars red carpet’s official correspondent. The pre-show presentation even has a name this year: On the Red Carpet at the Oscars. Beginning at 3:30 p.m. ET/12:30 p.m. PT, she’ll zoom in on the buzziest looks and interview your favorite stars, while Marie Claire listens closely for any designer details. Hulu will house the red carpet coverage, too, so no need to switch channels at all tonight."—Meguire Hennes, fashion staff writer

Your 2026 Oscars Red Carpet Fashion Cheat-Sheet

"From now until the 7 p.m. ET broadcast begins (and sometimes after, if Kylie Jenner is fashionably late again), a constant stream of corsets, naked dresses, and Spring 2026 color trends will likely dominate the Dolby Theatre’s red carpet. I’ve already established Best Actress nominees as ones to watch. The Best Supporting Actress category is equally stacked with style muses, including Teyana Taylor, Wunmi Mosaku, Amy Madigan, Elle Fanning, and Inga Ibsdotter Lilleaas. I have the utmost fashion faith in Taylor, especially after her bejeweled butt cleavage at the Golden Globes and her anatomically-correct Thom Browne gown at the Actor Awards. She’s worn the buzziest maisons this award season, but the One Battle After Another star keeps coming back to Schiaparelli. Daniel Roseberry’s Spring 2026 Couture and Fall 2026 womenswear collections are ripe for Taylor’s taking."

"Not only is Taylor a first-time nominee, she’ll also make her Oscars debut. Chase Infiniti, Wunmi Mosaku, Arden Cho, and more will also walk the historic red carpet for the first time. Expect them to go all-out for their debuts, whether it be with a vintage or fresh-from-the-runway pull.

Meanwhile, Oscars regulars like Emma Stone, Gwyneth Paltrow, Elle Fanning, and Kate Hudson will likely stick to what works best: glamorous gowns from their favorite ateliers. I, for one, can’t wait to see which shade Louis Vuitton loyalist Stone went with. So far this season, she’s pulled off lavender and butter yellow at the Actor Awards and Golden Globes, respectively."—Meguire Hennes, fashion staff writer

Dior’s Pre-Oscars Party Set a Stylish Tone—and Teased Surprise Celebrity Guests

"Three days before the 2026 Oscars, Dior and W Magazine gathered nominees, former winners, and fashion girls alike for an invite-only dinner. The dress code? Jonathan Anderson’s Dior, of course.

Most attendees—including Priyanka Chopra, Tracee Ellis Ross, Emily Ratajkowski, and Teyana Taylor—sourced Anderson’s first two Dior collections. Perhaps he’s reserving his 12-day-old Fall 2026 line for the real deal on Sunday.

Meanwhile, fans (myself included) were most shocked to see Hailey Bieber and Kendall Jenner on the guest list: The two have famously never walked the Oscars red carpet. Seeing them in Dior—Jenner in a circa-1998 camisole and Bieber in Anderson’s reimagined Bar Jacket—made me wish for their debuts this year. I also wasn’t expecting Emma Watson’s grand return to Hollywood. If the Dior party hinted Watson will attend the 2026 Oscars, it’ll be her first ceremony since 2014."—Meguire Hennes, fashion staff writer

Amelia Dimoldenberg Is the 2026 Oscars Hostess With the Mostest

"Chicken Shop Date star Amelia Dimoldenberg is the Oscars' red carpet correspondent for a third year in a row. She arrived before the biggest names in Hollywood, dressed in a strapless, black A-line gown, featuring an oversize bow at the back. Its classic simplicity allowed her diamond, collar-style necklace and matching hoop earrings to take center stage."—Meguire Hennes, fashion staff writer

'KPop Demon Hunters' Star Arden Cho Makes Her Oscars Debut

"KPop Demon Hunters is nominated for Best Animated Feature, meaning your favorite Huntrix members will grace the Oscars red carpet soon. Arden Cho, aka Rumi, was the first of the trio to arrive, dressed in Spring 2026 couture from Korean designer Miss Sohee. A strapless, black gown—with lace and fishnet naked elements—served as the base of her look. For extra drama, the actor slipped on the most voluminous of floor-length sleeves. Their moss green hue was especially eye-catching."—Meguire Hennes, fashion staff writer

Bella Thorne Flaunts the First (of Many) Oscars Naked Dresses

"If the 2026 Oscars are anything like the 2026 Golden Globes, tonight will be a naked dress showdown. Bella Thorne kickstarted the trend in a long-sleeve, black Gucci gown. The brand's double-G monogram decorated Thorne's nearly-naked underlay, before a boatneck, feather-cuffed bodice made it a touch more wintery."—Meguire Hennes, fashion staff writer

2026 Oscars Red Carpet Trend Watch

"It's early in the night, but there are a few trends I'm keeping a close eye on. After the Golden Globes filled with elegant black dresses, I'm expecting the Oscars to swerve toward bolder jewel tones or pearlescent white—ending the season on a bright note. I'm also hearing feather-trims are going to swish onto the red carpet via sleeves, embellished hems, and more."—Halie LeSavage, senior fashion news editor

Hudson Williams Skates Onto the 2026 Oscars Red Carpet—and My Best-Dressed List

"My man (read: Hudson Williams) has blessed the 2026 Oscars with his sartorial prowess—for the first time ever, might I add. Following his pre-Oscars naked shirt this weekend, the Heated Rivalry star posed in an oppositely full-coverage Balenciaga suit. (According to E! News, he's been doing yoga in his look all day.) He frosted the satin lapel of his black tuxedo jacket with a diamond Serpenti brooch from Bulgari. Just a few inches south appeared a matching Serpenti watch. He's a star, ladies and gentlemen!"—Meguire Hennes, fashion staff writer

McKenna Grace, Well, Graces the 2026 Oscars Red Carpet

"When I caught McKenna Grace walking out of her limo, I thought of Grace Kelly. Her peony-pink dress and matching, floor-length stole were a page neatly torn from the Old Hollywood playbook."—Halie LeSavage, senior fashion news editor

Rose Byrne Blooms at the 2026 Oscars Red Carpet

"When I spoke with Best Actress nominee Rose Byrne ahead of the 2026 Actor Awards, she told me she's spent red carpet season chasing 'elegance' with every look. She more than delivered at the Academy Awards in a black strapless Dior gown set with beaded lilies. To me, it looks like a woman getting her flowers and wearing them, too."—Halie LeSavage, senior fashion news editor

Renate Reinsve Sprouts a Spring 2026 Color Trend at the Oscars

"The tomato red color trend didn't just germinate on Spring 2026 runways from Bottega Veneta, Calvin Klein, Dior, Chanel, and Fendi. Best Actress nominee Renate Reinsve gave the shade a proper Hollywood close-up at the 2026 Oscars in a strapless gown. The design was as sharp as it was sultry, thanks to a hip-high cutout and high-low train. I, for one, hope more attendees follow her tomato-y lead tonight."—Meguire Hennes, fashion staff writer

Misty Copeland Pirouettes at the 2026 Oscars in the Tutu Trend

"Professional ballerina Misty Copeland is slated to perform en pointe at the 2026 Oscars. Before then, she endorsed the burgeoning tutu trend on the Oscars red carpet. A shoulder-padded, plunge blazer made up the top-half of her gown. Then, her stark white skirt served as a blank canvas for a tiered lace tutu. Extra points for her subtle jewelry from Jared. Copeland's step-and-repeat comes just days after Kaia Gerber tested the tutu revival in Givenchy. Perhaps the silhouette is Hollywood's way of proving to Timothée Chalamet that ballet is still very much 'alive.'"—Meguire Hennes, fashion staff writer

Chase Infiniti's Love Affair With Lavender Continues at the Oscars

"Four days ago, Chase Infiniti attended Vanity Fair's pre-Oscars 'A Night for Young Hollywood' party in a lavender Carolina Herrera skirt set. Turns out, she was teasing her 2026 Oscars gown. Tonight, she showed out in a custom lavender Louis Vuitton gown, featuring a halter-neck bodice and ruffled tiers atop the carpet-grazing train."—Meguire Hennes, fashion staff writer

"ICE OUT" Protests Continue at the 2026 Oscars Red Carpet

"It started at the 2026 Golden Globes, continued at New York Fashion Week, and made it all the way to the Oscars red carpet: Stars have been raising their voices against abuses by ICE with 'ICE OUT' pins and pointed accessories. Glennon Doyle's bedazzled clutch summed up the movement in seven letters."—Halie LeSavage, senior fashion news editor

GapStudio Makes Its Oscars Red Carpet Debut

"Zac Posen has been steadily elevating GapStudio's profile with every red carpet. After dressing stars for everything from the ESPYs to major fashion week parties, he secured a sculpted corset gown for Barbie Ferreira on the Oscars red carpet. This blue hits even better than a great pair of jeans."—Halie LeSavage, senior fashion news editor

'KPop Demon Hunters' Stars Channel the Film's Nominated Song

"KPop Demon Hunters' breakout hit, 'Golden' scored a Best Original Song nomination at the 2026 Oscars. Leading ladies EJAE and Audrey Nuna paid homage to the chart-topping record in metallic gold. For EJAE, gold sequins cascaded from her strapless neckline onto a fringed train. Nuna walked the red carpet minutes later, in a voluminous Thom Browne ballgown. I could write a song about its gold-to-black ombré alone."—Meguire Hennes, fashion staff writer

Consider Us on Zendaya Watch...

"Celebrity power stylist—I mean, image architect—Law Roach is in the building! I'm crossing my fingers and toes that his star client, Zendaya, is close behind. She hasn't attended the Academy Awards since 2024, when she wore custom Armani Privé. Personally, I'd love to see her recent bridal white streak get the Oscars treatment."—Halie LeSavage, senior fashion news editor

Odessa A'Zion Trades a Red Carpet Gown for Trophy-Worthy Trousers

"I feel so seen by Odessa A'Zion in Valentino at the 2026 Oscars: She arrived in oversize black trousers and an equally-baggy wrap top, aka the elevated version of my Oscars look right now. It's her second pro-pants pick of the current award season, following her circa-Fall 2015 Armani Privé jumpsuit at the 2026 Actor Awards."—Meguire Hennes, fashion staff writer

Wunmi Mosaku Makes My Oscars Watch Party Gasp

"As soon as Wunmi Mosaku arrived at the 2026 Oscars, everyone in my watch party gasped. Who wouldn't be in awe of the first-time nominee in emerald green sequins? The off-the-shoulder, long-sleeve look hugged her growing baby bump elegantly."—Meguire Hennes, fashion staff writer

Feathers Cover Every Square Inch of Demi Moore's Oscar Gown

"This time last year, Demi Moore attended the 2025 Oscars in head-to-toe silver sequins. Tonight, the Landman star traded sequins for peacock-inspired Gucci feathers, which fanned out atop her cinched bodice. According to Moore's stylist, Brad Goreski, 'Demi wanted to wear something that was a work of art.' The tufts turned mossy green around her waist, before becoming iridescent atop the mermaid train."—Meguire Hennes, fashion staff writer

Jessie Buckley Tests a "Controversial" Color Combination at the 2026 Oscars

"Spring 2026 is the season of unique color combinations. Need proof? See Best Actress nominee Jessie Buckley's custom Chanel gown at the Oscars. Fashion features editor Emma Childs called the moment 'controversial.' The pleated, off-the-shoulder bodice was tomato red, contrary to the baby pink elongated skirt. I'll be channeling this red-and-pink color palette all spring long."—Meguire Hennes, fashion staff writer

Zoe Saldaña Elevates the Naked Dress Trend at the Oscars

"An actor's Oscars gown doesn't need to be completely transparent to classify as 'naked.' Exhibit A: Zoe Saldaña's little black slip dress. Only the lacy balconette bodice atop her satin slip was sheer."—Meguire Hennes, fashion staff writer

Teyana Taylor in Custom Chanel Leaves 'Marie Claire' Editors Speechless

"Teyana you have simply GOT to be JOKINGGGG."—Julia Marzovilla, fashion e-commerce editor

"My co-worker, Julia, took the words right out of my mouth. Teyana Taylor has delivered hit after hit this award season, and absolutely no misses. Her custom Chanel Oscars gown undeniably continued her red carpet streak. Black and white feathers down the carpet-grazing train were the cherry on top of Taylor's glamorous cake."—Meguire Hennes, fashion staff writer

Kylie Jenner Ends Her Noir Gown Streak in Red-Hot Schiaparelli

"I love a classic Kylie moment, and her Oscars look really delivered. While it’s still too early to see if she’ll walk the red carpet (fingers crossed!), I’ll be satisfied with any peak into her look on film’s biggest night.”—Julia Marzovilla, fashion e-commerce editor

Kate Hudson Brings Her Mom, Goldie Hawn, as Her Oscars Plus-One

"If I was nominated for my first Academy Award, my mom would certainly be my plus-one. Clearly, Kate Hudson is as much her mother's daughter as me: The Best Actress nominee arrived at the Oscars in a peplum Armani Privé gown. (Marie Claire predicted she'd choose Armani Privé in late January, when she attended the maison's Paris Haute Couture Week show.) Goldie Hawn's black, glittery gown matched her daughter's glamour with ease."—Meguire Hennes, fashion staff writer

I Give You...Elle Fanning, a Givenchy Princess

"Elle Fanning was the picture of a princess in a Givenchy by Sarah Burton gown, fit with a strapless bodice, tulle ball skirt, and hand-stitched lavender-tinted wisteria petals. Plus, there’s a heartfelt detail to the Sentimental Value star’s look we wouldn’t know if the Best Supporting Actress nominee didn’t take the time for a quick chat with a red carpet correspondent: Fanning revealed that Burton’s a 'dear friend' and that 'she and her team sewed every wisteria petal.' The perks of being famous and having famous friends!"—Emma Childs, fashion features editor

Emma Stone's Cap-Sleeve Oscars Gown Is Classic Emma-Core

"If you made me close my eyes and draw a picture of what Emma Stone would wear to the Oscars, it would be this exact dress. She's spent all of 2026 so far wearing every possible combination of 'beaded column dress.' The look always works for her, but I'd love to see her take a risk at the after parties."—Kelsey Stiegman, contributing fashion writer

Nicole Kidman Maximizes the Oscars Feather Trend in Custom Chanel

"Following Teyana Taylor, Demi Moore, and Bella Thorne's lead, Nicole Kidman walked the Oscars red carpet in custom feather-trimmed Chanel. The bespoke peplum gown began with green and ivory sequins. Powder pink feathers became more concentrated toward the strapless dress's floor-length gown. Its elegance was only amplified by a vintage Omega Sapphette timepiece from 1966. As Omega's ambassador, she had an all-access pass to the brand's archives."—Meguire Hennes, fashion staff writer

Wait—Did You See Gwyneth Paltrow's Never-Ending Slit?

"When Gwyneth Paltrow first graced the 2026 Oscars red carpet, I thought her strapless Armani Privé dress was classically glamorous. Then, she showcased its side profile, and it became one of the evening's riskiest selects. Cut-outs on either side of the dress cascaded all the way up to her neckline. To quote my co-worker, fashion features editor Emma Childs, it was 'neo-naked dressing' at its finest."—Meguire Hennes, fashion staff writer

"Gwyneth Paltrow has always been on my personal best-dressed list, but this awards season has taken my love for her style to a different level. Tonight’s custom Giorgio Armani dress (and its daring cutouts) is so chic and sexy at the same time. Obsessed.”—Julia Marzovilla, fashion e-commerce editor

Amy Madigan Didn't Accept Her First Oscar Alone

"When Amy Madigan took center stage to accept her first Oscar, I couldn't help but admiring the timepiece a few inches from the trophy. Underneath the feathered cuffs of her Dior jacket emerged a $20,600 watch from Omega, featuring 46 bezel-set diamonds."—Meguire Hennes, fashion staff writer

Anne Hathaway Attends Her First Oscars in Over a Decade

"Without sounding trite, Anne Hathaway’s look served Old Hollywood glamour on tonight’s carpet. Her stunning floral gown was so timeless, right down the velvet elbow-length gloves. Add in a half-up-half-down hairstyle and glowing makeup, and you’ve got a best-dressed look for the ages.”—Julia Marzovilla, fashion e-commerce editor

Anna Wintour and Anne Hathaway Meet On the Oscars Stage

"Two months before The Devil Wears Prada 2 hits theaters, Anne Hathaway and Anna Wintour brought the fashion drama to life at the Oscars. Marie Claire editors adored their commitment to the bit."—Meguire Hennes, fashion staff writer

"Didn't expect the Anne and Anna link up."—Emma Childs, fashion features editor

Final Oscars Thoughts Before the 'Vanity Fair' Oscar Party

"It’s Matthieu Blazy for Chanel’s world, and we’re all just living in it—Teyana Taylor, included. The One Battle After Another star’s Chanel naked dress, fit with black and white feather fringe and silver sparkle stripes, represented exactly why newly-appointed creative director is earning such buzz. It was classic yet modern, a spotlight on craftsmanship but not stuffy, and, crucially, pure joy. Taylor was, by and large, my best-dressed of the night."—Emma Childs, fashion features editor

"I've never had an easier time putting together a best-dressed list. Tonight's nominees really showed out, from honoring Hollywood history to remixing familiar house codes. My top three? Teyana Taylor, Jessie Buckley, and Elle Fanning."—Halie LeSavage, senior fashion news editor

"Wow, what a night. For me, few award shows were nearly as exhilarating as the 2026 Oscars. Even before the broadcast began, red carpet regulars like Emma Stone, Demi Moore, and Anne Hathaway made my jaw drop in Louis Vuitton, Chanel, and Valentino, respectively. My biggest rounds of applause go to Oscars debuts from Odessa A'Zion, Chase Infiniti, and Wunmi Mosaku. Each newcomer's step-and-repeat stole the show. I'm still not over Mosaku's ability to pull of every color in the rainbow. Bravo, Oscars guests, bravo."—Meguire Hennes, fashion staff writer

Zendaya is no stranger to serving iconic looks. Case in point: wearing Carrie Bradshaw's actual vintage Caché dress from 2008's Sex and the City on the red carpet for the 2026 Essence Black Women in Hollywood event. So it's literally no surprise that Zendaya was able to delight fans ahead of the Oscars with two very different Louis Vuitton looks, both of which seemed to subtly reference those wedding rumors.

The Euphoria star—who is styled by Law Roach—headed to Las Vegas on March 14 to offer her help at a one-day wedding chapel to promote A24 movie The Drama. In a series of Instagram Stories, A24's official account shared footage of Zendaya surprising newlyweds, and even serving as a witness at a stranger's wedding.

For the romantic event, Zendaya paired a vintage gold Louis Vuitton Corset Top with a subtle animal print silk skirt, both from the fashion house's Spring 2004 collection.

The actress accessorized the outfit with a pair of Christian Louboutin So Kate Pumps in Safki. For jewelry, she kept it simple with a Cartier Love Unlimited Bracelet and a Jessica McCormack Round Wire Fine Gold Band worn on her ring finger.

Zendaya's vintage Louis Vuitton outfit originally appeared as two separate looks on the runway at Paris Fashion Week.

After witnessing weddings in Vegas, Zendaya swapped her gold look for a crisp white gown, this time from Nicolas Ghesquière's Fall 2026 collection for Louis Vuitton. The dramatic square neckline with an oversize ruffled collar makes quite a statement, while also seemingly alluding to Zendaya's martial status.

A pair of Christian Louboutin So Kate Pumps in White completed her outfit.

While Zendaya's marital status remains a mystery—despite Roach's suggestion the wedding has already happened—her two Louis Vuitton outfits are ideal for promoting wedding flick The Drama.

Shop Outfits Inspired by Zendaya

Few things are uniting Hollywood's elite like the best naked dresses of 2026.

Baring it all in the name of capital-f Fashion has stood the test of time. From Kate Moss's circa-1993 slip to Ciara Miller in invisible lingerie, it's now a question of "who hasn't" gone the naked route, rather than "who has." Just when you thought you'd seen it all, Chappell Roan dangled a Mugler slip from faux pierced nipples at the 2026 Grammys.

It seems the banning of naked dresses at the 2025 Cannes Film Festival had the opposite effect on celebrities: It girls are revealing even more this year. Fashion's resident risk-taker, Sabrina Carpenter, set the sheer tone as early as January 1. She rang in the new year with Mirror Palais's transparent, tea-length slip and strategically-placed rhinestones. Ten days later, 2026's first major award show became a sheer showdown. Jennifer Lopez and Jennifer Lawrence proved naked dresses can be both extravagant and ethereal at the 2026 Golden Globes. By Fashion Month, some stars—like Chappell Roan—even started challenging their own previous 2026 naked dresses. For instance, "The Subway" singer traded faux nipples for a thong-exposing, backless gown at the Vivienne Westwood Fall fashion show.

Marie Claire's naked dress report—as seen in the Sept. 2024 Changemakers Issue—said the trend "hit its stride in near-present Hollywood." Circa-2026 fashion news stories almost always feature "naked" in the headline—even at the 2026 Met Gala, where a new naked dress trend swept the red carpet. Celebrities can't help it—it's the industry's most persistent trend-turned-trademark. Keep scrolling for the year's 20 best naked dresses so far, redefining "transparency" with every photo.

Sabrina Carpenter Wearing a Naked Mirror Palais Dress

Who needs the Times Square Ball when you have a rhinestone-embellished naked dress? Carpenter celebrated the new year in nothing but transparent mesh, topped with mismatched gemstones. She even layered a lacy white thong underneath to up her outfit's overall shock factor.

Renate Reinsve Wearing a Naked Givenchy Dress

Sarah Burton's Givenchy dresses are leading 2026's naked charge—a fact Renate Reinsve (and stylist Karla Welch) proved as early as Jan. 3. The actor arrived at the Palm Springs International Film Festival in a transparent, drop-waist dress from the Spring 2026 show. A visible waistband, peekaboo underwear, and a trumpet tulle skirt were its only non-naked details.

Jennifer Lopez Wearing a Naked Jean-Louis Scherrer Dress

On Jan. 11, Jennifer Lopez proved naked dressing was never a trend, but a part of fashion history. Jean-Louis Scherrer designed her see-through trumpet gown in 2003—which styling duo Rob Zangardi and Mariel Haenn got their hands on 23 years later. Brown bedazzled lace atop the turtleneck, bust, and skirt offered just enough coverage for the 2026 Golden Globes.

Jennifer Lawrence Wearing a Naked Givenchy Dress

Hollywood's most famous Jennifers held down the naked fort at the 2026 Golden Globes. Jennifer Lawrence, for one, wore custom Givenchy by Sarah Burton, per stylist Ryan Hastings's recommendation. Similar to Lopez's gown, whimsical pink and green flowers covered only the necessary spots. The rest—including her waist and thighs—was on full display.

Teyana Taylor Wearing a Naked Schiaparelli Dress

Teyana Taylor's bejeweled butt cleavage at the Golden Globes was the bombshell to beat. Come Paris Haute Couture Week, the Oscar nominee outdid herself in an entirely-sheer skirt set at Schiaparelli's Spring 2026 show. Instead of a bedazzled thong, she wore a custom tiara and necklace inspired by stolen Louvre gems.

Chappell Roan Wearing a Naked Mugler Dress

Chappell Roan's grand entrance at the 2026 Grammys will go down in fashion history—in fact, it already has. Stylist Genesis Webb made magic happen with a custom Mugler burgundy gown, which hung from faux pierced nipples. What's more, the chiffon skirt was also transparent, revealing a matching G-string.

Karol G Wearing a Naked Paolo Sebastian Dress

From the front, Karol G's turquoise Paolo Sebastian gown was relatively low on the naked dress spectrum. (But stylist Brett Alan Nelson had a plan.) Once she turned around, the Chantilly lace became increasingly more sheer. It also confirmed the "Provenza" singer wore a nude thong bodysuit as her base layer.

Hailey Bieber Wearing a Naked Saint Laurent Dress

The award for most unexpected naked dress goes to...Hailey Bieber at the Australian Wuthering Heights premiere. No one expected the Rhode founder to grace the same blue carpet as Margot Robbie, hence why her custom Saint Laurent went so viral. Every nook and cranny was crafted from sheer black lace, similar to Robbie's McQueen dress earlier in the press tour. You can thank stylist Andrew Mukamal for Bieber and Robbie's symmetry—he styled both of them that night.

Dua Lipa Wearing a Naked Chanel Dress

Dua Lipa supported her fiancé, Callum Turner, at his film's Berlin Film Festival debut the only way she knew how: in custom Chanel from stylist Lorenzo Posocco. The Matthieu Blazy-designed dress was 80-percent sheer, from the waist panel to the skirt. The crocheted patterned turned more opaque atop its bust and thick shearling waist. Lipa's matching pair of low-rise underwear made an appearance, too.

Kaia Gerber Wearing a Naked Givenchy Dress

At first glance, I see how the nakedness of Kaia Gerber's Givenchy dress on Feb. 15 could be up for debate. It's certainly not as daring as say, Chappell Roan's Grammys gown. But if I spot an undergarment, it's automatically naked enough in my book. The model's G-string emerged from beneath the lacy, fishnet fabric, just as it did in the Pre-Fall 2026 look book.

Margot Robbie Wearing a Naked Chanel Dress

Technically, Margot Robbie's risqué Wuthering Heights press tour wrapped a week before Tropfest 2026. Her character, Cathy, clearly left a mark on her (and Andrew Mukamal's) red carpet approach, though. On Feb. 22, the actor stacked an organza bralette and matching, high-rise shorts underneath a black, ankle-grazing shift. The entire three-piece set premiered a month prior on Chanel's Spring 2026 Couture catwalk.

Megan Thee Stallion Wearing a Naked Roberto Cavalli Dress

Contrary to Gerber in Givenchy, Megan Thee Stallion's skintight slip at the Roberto Cavalli fashion show was the nakedest dress of them all. (Well done, stylist Isiah Ahmad.) She was impossible to miss in the completely transparent piece, featuring bambi-like spots from top to bottom. It was so sheer, you could spot the Grammy winner's thong and belly-button piercing.

Chappell Roan Wearing a Naked Vivienne Westwood Dress

Chappell Roan gave a new meaning to "business in the front, party in the back" at Vivienne Westwood's March 7 fashion show. She turned around to reveal her corseted, Victorian-era gown was actually missing the back-half of its skirt. With one swift move, the singer proved extreme cutouts are just as jaw-dropping as naked dresses, if not more.

Da'Vine Joy Randolph Wearing a Naked Karla Gil Dress

Two years after Da'Vine Joy Randolph took home her first Oscar for Best Supporting Actress, the winner skipped the ceremony for the 2026 Vanity Fair Oscar Party red carpet. Styling partners Matthew and Reginald Reisman dressed her in a custom gown from Karla Gil. The long-sleeve was 80-percent sheer lace, apart from cup-like drapery atop her bust. Then, the satin, carpet-grazing skirt turned a touch more pink, especially along the train.

Myha'la Wearing a Naked Valentino Dress

Zoë Kravitz was noticeably absent from the 2026 Vanity Fair Oscar Party, but fellow naked dress enthusiast Myha'la held down the fashion fort for her. Perhaps it ended up in her post-Valentino show luggage last week: She watched Alessandro Michele's Fall 2026 show from the front row in Rome. Her purple post-Oscars pick hailed from the Spring 2026 collection. The Industry star was likely drawn to its completely sheer tulle, topped with strategically-placed lace.

Renate Reinsve Wearing a Naked Louis Vuitton Dress

Renate Reinsve lost the Best Actress Oscar to Hamnet's Jessie Buckley. Wearing Louis Vuitton at Vanity Fair's Oscar Party still secured her a win, though. The custom long-sleeve look was even more transparent than her Givenchy gown above. Its only opaque pieces adorned the bust and hips, leaving her abdomen and legs on full display beneath black chiffon.

Rita Ora Wearing a Tamara Ralph Naked Dress

Yes, only the top half of Rita Ora's Tamara Ralph Spring 2026 Couture gown was see-through. Even so, the high-neck bodice fulfilled the naked quota (and then some). Slightly-darkened mesh lined her neckline's blue floral appliqués, before the corset's visible, under-bust boning took over. From there, Ora's asymmetrically draped satin skirt became sheer.

Ciara Miller Wearing a Lacy Naked Dress

Ciara Miller's revenge dresses aren't reserved for Summer House reunions. On April 30, she arrived at Cultured Magazine's CULT100 event in the evening's sheerest slip: an entirely transparent, lace gown over nothing but lingerie. The cool-toned gray garnish matched a balconette bra underneath, but her skin-colored thong was almost invisible.

Alex Consani Wearing a Thong-Revealing Naked Dress

A new naked dress trend surfaced at the 2026 Met Gala. VIP guests like Kendall Jenner, Kim Kardashian, and Kylie Jenner used anatomically correct bustiers to hint at what was underneath.

Most legitimately naked looks debuted at various Met Gala after parties instead. Alex Consani bared it all in a lace midi dress direct from her lingerie collection. The model's matching G-string was unmissable beneath the little red dress's burgundy flowers.

Sabrina Carpenter Wearing a Naked Dior Dress

Every element of Sabrina Carpenter's naked Dior dress—especially the sheer, lingerie-revealing bodice—suggested creative director Jonathan Anderson designed it just for her. (He brought all of her Coachella costumes to life, including the finale's sheer bodysuit.) Yes, it was a new design, but Carpenter and stylist Jared Ellner plucked it from the Cruise 2027 collection before it opened the May 13 fashion show. That's right, she beat Anderson to his own risqué punch.

With connections to Burberry, Ashi Studios, Thom Browne, Tom Ford, and of course, Schiaparelli, good luck predicting Teyana Taylor's red carpet look at the 2026 Oscars. At first, I assumed she'd go the risqué route, like she did at the 2026 Golden Globes and Grammys. But now, I'm not so sure.

On March 12, the naked dress devotee attended Dior and W Magazine's pre-Oscars party in a completely opaque outfit. She didn't show any skin, unless her fierce face card counts.

Taylor styled herself in Look 2 from Jonathan Anderson's Dior Pre-Fall 2026 look book. (There's even photo evidence of Anderson complimenting her pick last night.) Not a single cut-out or strand of mesh interrupted the full-coverage, white long-sleeve. It began with a standing, pleated collar, tucked into a matching texturized jacket. Tiered layers of floppy bows decorated every square inch of the top. It was more fitted than her gray trousers, but not by much.

The Oscar nominee's pants match the volume of some of her boldest One Battle After Another press tour selects. (See her Burberry coat dress on The TODAY Show last January for proof.) Each shoe-hiding leg was oversize to the max. How? Anderson added three times the fabric of traditional pants to each high-rise hip. When Taylor posed with her legs together, the silhouette read more like a utilitarian ballgown. To finish, she followed the look book's lead in the accessory department. Itty-bitty diamond stud earrings were Taylor's only visible sparkler. Perhaps she tucked a few statement rings into her pockets, though.

Believe it or not, the pre-Academy Awards party doubled as Taylor's Dior-clad debut. She's never publicly worn a Dior by Jonathan Anderson design. (Her closet only holds the rare Dior accessory, like vintage sunglasses or a $1,100 beret.)

Why change that now? I can't help but think Taylor teased Dior as the maison behind her 2026 Oscars look. Where else but the Oscars red carpet would be worthy of her first proper Dior dress? Of course, she could be just throwing fans off her sartorial scent. Maybe Taylor commissioned her friends at Schiaparelli, instead. Either way, stay tuned for what could be the biggest surprise of Oscars night.

Could 2026 be the year Kendall Jenner and Hailey Bieber walk the actual Oscars red carpet? The fashion girls scored invites to Dior and W Magazine's pre-Academy Awards party on March 12, alongside nominees like Teyana Taylor. Nothing's confirmed, of course, but their contrasting Dior dinner outfits might've doubled as their Academy Awards RSVP.

Despite topping best-dressed lists at recent Vanity Fair Oscar Parties, Jenner and Bieber have yet to make their official Academy Awards debuts. Still, as fashion's finest, they fit right in with last night's Hollywood crowd. The friends were attached at the hip all night long, but their looks couldn't have been further apart on the Dior spectrum.

Jenner, for one, traded fresh-off-the-runway Jonathan Anderson designs for a rare Fall 1998 vintage find. Her silky black camisole hailed from then-creative director John Galliano's tenure, whom Anderson refers to as his "hero." Stark white lace lined the scoop neckline, bust, and hip-hugging hem. Jenner's exact pick is listed on 1stDibs for $1,795. In lieu of a coat, Jenner draped a semi-sheer scarf around her neck. Itty-bitty stud earrings were her only visible accessory at Bieber's side, but The Row's four-figure Amazon Clutch joined her for another photo-op later.

Meanwhile, Bieber matched host Jonathan Anderson's energy in a classic cool-girl set. She paired mid-wash, straight-leg jeans—her signature silhouette at the moment—with a cropped take on Dior's iconic Bar Jacket. The Rhode founder's silk, wool, and tweed-blend blazer comes in two $5,300 colors: green and charcoal gray. Bieber chose the latter, possibly to coordinate its speckled exterior to her $990, black Saint Laurent mules. Like Jenner, she opted out of any scene-stealing sparklers. Even her new, (rumored) $1.5 million engagement ring remained in her jeans' pocket.

Bieber and Jenner made quite the award season rounds this year. In January, they were each other's plus-ones at another W Magazine bash. It seems they exchanged outfit pics before the Best Performances Party: They arrived in the same beige-and-black color palette. Bieber wore a Stella McCartney corset as a top, wide-leg trousers, and Aquazzura pumps. Jenner stayed loyal to luxury camisoles with a $4,800, polka-dot piece from Valentino. Her black, midi pencil skirt also had Valentino tags.

Are Bieber and Jenner actors? Not yet, at least. Kylie Jenner is the wannabe actress right now: "I've actually gotten a few scripts, nothing that I feel is right yet, but I 100% want to do more," Jenner told Vanity Fair, after making a cameo in Charli xcx's The Moment.

Regardless, they run in the same designer-clad circles as your favorite movie stars. So don't be surprised if the Dolby Theatre saves seats for Jenner and Bieber on March 15. If not the actual ceremony, count on them to return to the Vanity Fair Oscar Party.

Shop Outfits Inspired by Hailey Bieber and Kendall Jenner

After a long season of surprises, snubs, and red-carpet glamour, the 98th annual Academy Awards are just a few days away. This year's ceremony will cap off one of the most unpredictable awards seasons in recent years; most of the best drama movies of 2025 have picked up honors over the past three months, and there's no clear frontrunner in most of the acting races and Best Picture.

This year's nominees include a mix of record-breaking blockbusters (Sinners, KPop Demon Hunters, Marty Supreme), beloved auteur-led films (One Battle After Another, Hamnet), and strong international contenders (Sentimental Value, The Secret Agent, It Was Just an Accident). Plus, first-time nominees like Jacob Elordi, Michael B. Jordan, Renate Reinsve, Rose Byrne, Teyana Taylor, Wagner Moura, and Wunmi Mosaku hope to stamp their place in Hollywood history.

Read on to learn everything to know about the 2026 Oscars, including how to watch the ceremony and the nominated films.

When are the 2026 Oscars?

The 2026 Oscars will air live on ABC on Sunday, March 15 at 7 p.m. ET/4 p.m. PT. (Note: This is an hour earlier than the usual 8 p.m. ET/5 p.m. PT start time for awards shows like the Golden Globes or the Grammys.)

As always, the ceremony will be held at L.A.'s Dolby Theatre.

How can I watch the 2026 Oscars?

Viewers with cable can tune into their local ABC channel or use their cable login to watch on a computer, phone, or tablet via ABC's app or website.

The Oscars will stream live on Hulu for all subscribers, regardless of subscription tier. (Ideally the streamer has created fixes for last year's glitches.) The full ceremony will also be available to watch on demand the following day.

If you don't have cable or a Hulu subscription, there are other ways to stream the Oscars online. Live streaming TV services like DIRECTV STREAM, Fubo, Sling TV, and YouTube TV provide access to ABC (and offer free trials).

How can I watch the 2026 Oscars red carpet?

ABC's official pre-show, On the Red Carpet at the Oscars, starts at 3:30 p.m. ET/12:30 p.m. PT on March 15. E! Live from the Red Carpet is also expected to start soon after at 4:00 p.m. ET/1:00 p.m. PT.

Who is hosting the 2026 Oscars?

Emmy winner Conan O'Brien will host the Oscars ceremony for the second year in a row. The comedy legend signed up to return to the awards show just two weeks after his well-received hosting debut in 2025.

Who is presenting at the 2026 Oscars?

The Academy of Motion Pictures announced that the ceremony's presenters will include: Anne Hathaway, Bill Pullman, as well as his son Lewis Pullman, Channing Tatum, Chase Infiniti, Chris Evans, Delroy Lindo, Demi Moore, Ewan McGregor, Gwyneth Paltrow, Javier Bardem, Jimmy Kimmel, Kumail Nanjiani, Maya Rudolph, Nicole Kidman, Paul Mescal, Pedro Pascal, Priyanka Chopra Jonas, Robert Downey Jr., Rose Byrne, Sigourney Weaver, Wagner Moura, and Will Arnett. Last year's acting winners, Adrien Brody, Kieran Culkin, Mikey Madison, and Zoe Saldaña, will also return as presenters.

Meanwhile, Matt Berry will serve as the ceremony's announcer.

Who is performing at the 2026 Oscars?

After last year's controversial decision to skip the Best Original Song performances, the Oscars are bringing them back...but just the two biggest hits.

The Hollywood Reporter confirmed that this year's ceremony will include live performances of “Golden” from KPop Demon Hunters and “I Lied to You” from Sinners. Oscar producers explained their decision, citing how the two songs "have played a defining role in their global cultural impact and audience connection this year."

They should be pretty big numbers. It's been confirmed that the singing voices behind HUNTR/X—EJAE, Rei Ami, and Audrey Nuna—will take the stage to sing "Golden." Meanwhile, "I Lied to You" will be performed by Sinners star Miles Caton and R&B icon Raphael Saadiq. They'll also be joined on the stage by an exciting roster of musicians and performers, including Misty Copeland, Eric Gales, Buddy Guy (who had a cameo in Sinners), Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey, and Alice Smith.

Elsewhere during the awards show, Josh Groban and the Los Angeles Master Chorale will also perform.

According to THR, the other three tracks up for Best Original Song—"Train Dreams" by Nick Cave and Bryce Dessner (Train Dreams), "Sweet Dreams of Joy" by Nicholas Pike (Viva Verdi!) and "Dear Me" by perennial nominee Diane Warren (Diane Warren: Relentless)—will be "introduced via custom-produced segments featuring film and behind-the-scenes footage."

Who is nominated at the 2026 Oscars?

As for this year's race, Sinners leads this year's Academy Award nominees with 16 nods. The vampire musical-thriller claimed a new record for the most nominations for an individual movie in one year, surpassing All About Eve, Titanic, and La La Land's 14 nods.

Following closely after Sinners is One Battle After Another, with 13 nominations; Frankenstein, Marty Supreme, and Sentimental Value with 9 nods each; and Hamnet with 8 nods. These five films are all nominated for Best Picture, along with Bugonia, F1, The Secret Agent, and Train Dreams.

Other notable nominations include Chloé Zhao's Best Director nod for Hamnet; Best Animated Picture and Best Original Song nods for KPop Demon Hunters; first-time acting nods for Jacob Elordi (Frankenstein), Elle Fanning (Sentimental Value), Rose Byrne (If I Had Legs I'd Kick You), and Delroy Lindo (Sinners); second career nominations after decades-long gaps for Kate Hudson (Song Sung Blue) and Amy Madigan (Weapons); and the four nods for non-English acting performances—The Secret Agent's Wagner Moura and Sentimental Value's Renate Reinsve, Inga Ibsdotter Lilleaas, and Stellan Skarsgård. There's also a brand-new category this year: Hamnet, Marty Supreme, One Battle After Another, The Secret Agent, and Sinners nabbed the first-ever nominations for Achievement in Casting.

How can I watch the movies nominated for the 2026 Oscars?

If you still need to catch some of these films before finishing your voting ballot this week, you can watch most of the Oscar-nominated movies from the comfort of your couch.

Most of the Best Picture nominees are already available to stream. Bugonia is on Peacock; F1 is on Apple TV; Frankenstein is on Netflix; Hamnet is on Peacock; One Battle After Another is on HBO Max; The Secret Agent is on Hulu; Sinners is on HBO Max; and Train Dreams is on Netflix. As for other top films, Blue Moon is on Netflix; KPop Demon Hunters is on Netflix; If I Had Legs I'd Kick You is on HBO Max; It Was Just An Accident is on Hulu; Song Sung Blue is on Peacock; and Weapons is on HBO Max.

Meanwhile, Marty Supreme, Sentimental Value, andThe Voice of Hind Rajab are all available to rent or own on demand. All of these are also playing in theaters nationwide, as well as Best Visual Effects frontrunner Avatar: Fire and Ash.

For those of us who have too many streaming subscriptions and are willing to wait until after the ceremony: Sentimental Value will be on Hulu starting March 26, and Marty Supreme is expected to arrive on HBO Max sometime in April or May.

The Oscars Nominees Luncheon never packs up Emma Stone's place card for long: She's attended four since 2017. Her luncheon looks, on the other hand, are never repeated. See Stone's crisp, little black blazer dress at the 2026 pre-Oscars soirée for proof.

With the countdown to the 2026 Academy Awards nearing a month, Best Actress nominees like Jessie Buckley, Rose Byrne, Kate Hudson, and Stone reunited inside The Beverly Hilton Hotel on February 10. The Bugonia star began the battle of LBDs in a two-week-old mini from Julie de Libran. (Buckley wore one, too.) Stylist Petra Flannery had no issue securing the Spring 2026 Couture design so soon after Paris Haute Couture Week.

The super-padded shoulders and thigh-grazing hem felt fresh for the maxi-loving minimalist. An elongated pendant would've filled the negative, navel-length space created by the plunge neckline, but Stone didn't need one. De Libran decorated its point with a leather take on the circa-2023 rosette trend. Floral appliqués like this became her Spring 2026 Couture line's leading motif, though none were quite as gothic as Stone's.

Stone's de Libran look wasn't custom, but that didn't stop Flannery from taking creative liberties. The runway model stacked the same blazer—down to the satin pocket flaps—over a floor-length skirt on the late January catwalk. Its thigh-high center slit revealed peep-toe embroidered pumps.

The Oscar winner opted out of the slashed skirt completely, because her blazer stretched just long enough. To finish, Stone coupled semi-sheer tights with $925 Aquazzura sandals, both in black to match her fresh-from-the-runway mini.

Two years ago, before winning her second Academy Award for Poor Things, Stone returned to The Beverly Hilton Hotel in a custom Louis Vuitton set. Once again, a statement blazer was the main event. Ivory satin surrounded each spike of the satin collar, before a zipper brought the geometric halves together. Bespoke split-hem pants continued Stone's color story.

Stone wasn't the only nominee in noir at the mid-day Oscars event. Elle Fanning chose a black skirt set from Givenchy's Fall 2025 line; Rose Byrne arrived in a one-shoulder bodysuit beneath plated trousers; and Teyana Taylor layered a sequin cape on top of a leather T-shirt. If the rumors are true, and the luncheon does tease each star's Oscars red carpet look, expect no shortage of black gowns come March 15.

Izzy Custodio never expected her obsession with film history to become a career. Before she founded the YouTube channel Be Kind Rewind, the writer and creator’s deep dives on Old Hollywood divas were just her hobby—how she spent her free time while pursuing a degree in international relations. But for the past eight years, Custodio has become YouTube’s go-to source for in-depth video essays on film history and its reflection on society.

Be Kind Rewind episodes explore the intricacies of awards seasons past and present, from legendary Best Actress races to deep dives into Hollywood turning points. While it might seem like one could only scratch the surface of topics like #OscarsSoWhite or the Hollywood Blacklist in a 40-minute video essay, Custodio seamlessly weaves historical context and commentary into her case studies. As with all the best video essays, Custodio’s personal touch—asides highlighting performance decisions as specific as a Margot Channing hair swoop—tips BKR essays over the edge from interesting to fascinating. As the creator tells Marie Claire, her videos “describe the kind of cinephile I am. I love movies, and this is how I love them, and this is why I love them.”

Beyond the thoroughly researched, nuanced analysis, Custodio’s videos stand out by focusing on the hidden influences behind the films topping the box office and what stars take home the gold. As Custodio sees it, since art reflects society, so do the awards campaigning, historic snubs, and accusations of category fraud. Her analyses of how Hollywood has changed over time and who Hollywood chooses to elevate to icon status always link back to the ways that the entertainment industry is constantly influenced by the hegemonic structures of the time. Whether you want to ignore it or not, art is intrinsically political.

“I think you could teach an American History course just by plucking out maybe five films that can tell you what America thinks about itself,” Custodio says, “the ways that it structures its institutions in order to enforce or reinforce that belief for the American public. I'm interested in illuminating for people how the pop culture that they're consuming and the images of pop culture they're consuming are maybe influenced by those structures.”

With over 350,000 subscribers and 45 million views and counting, Be Kind Rewind is one of Film YouTube’s most esteemed channels. Custodio’s reach goes beyond the platform; she has been a mainstay of Sight & Sound’s annual Best Video Essay polls since 2023, and she was an inaugural member of Turner Classic Movies’s (TCM) New Voices of Cinema series. Though she admits that she “kind of sits in the center” of a Venn diagram of amateur historian, critic, and YouTuber, you can’t deny that Custodio has found her audience: fellow film buffs who want to celebrate the best of Hollywood year-round.

Below, Custodio chats with Marie Claire about the essential Be Kind Rewind videos film fans should watch, how awards shows are fighting for relevance in 2026, and the performances she’d vote for if she were an Academy member.

Marie Claire: Where did your fascination with film history and the Oscars start?

Izzy Custodio: I grew up in a household that loves movies, so Turner Classic Movies (TCM) was always on. There were a handful of movies that I saw that really ignited my personal love of film and started to shape my taste. I saw Moulin Rouge when I was probably too young to see it, but it nevertheless had a huge impact on me. That was when I started getting really into the Oscars, because I really wanted Nicole Kidman to win for that.

My taste started maturing into a more classical area when I was in high school because I was close to my grandmother. She had memories of the ‘30s and ‘40s that I liked to probe in her brain. You used to be able to get on YouTube when it didn't really have very strict copyright restrictions and type in "Katherine Hepburn full movie,” and you'd get almost her entire filmography. I would pick an actress, binge everything that she had been in, and then move on to the next one. I could find my way through cinema history through them as oddly aspirational figures, even though I think the films from that era aren't the morals and ethics that I hold myself to. But I found something in them nevertheless, which I really took to heart.

MC: How did Be Kind Rewind originate? Why was YouTube the right medium?

IC: I was working in Berlin at the time, and I didn't know what I wanted to do with my life, because I decided I didn't want to do politics. My way of understanding Berlin, as a new place that I'd moved to, was through film. So I was watching a lot of Marlena Dietrich and Fassbinder and all these German filmmakers or actors. I went to the German Film Museum, and it was the first time I really realized that there are people who are in charge of shepherding these stories into the present and helping people understand the history of this medium.

I had worked at Vine, so video was part of my vocabulary about communication. I was also really inspired by Karia Longworth, who does “You Must Remember This.” She had done an interview with “Fresh Air” on NPR, where she said it's simple production-wise, in the sense that it's her, a microphone, and her writing. I was like, Well, I'm not a filmmaker, but I can do that. It really was just like, I need to make this as a project for myself. When people started watching it, and it started becoming a thing that could bring an income, it became something where I was like, Oh, maybe I can actually do this. It was never my plan to be a YouTuber; it just kind of happened.

MC: What makes you want to cover a specific actress, director, or film?

IC: It's different for every video. Sometimes it's a topic that intrigues me personally from a taste perspective. When I made the Ms. Piggy video, it's not like people were talking about her. It's because I think she's fascinating and hilarious, and I wanted to talk about her. Sometimes it's things that I'm pulling from history that I think more people should be aware of, like the Eartha Kitt at the White House video. Sometimes it's a topic that I feel people would want to engage with from a current-events or current-film-culture perspective, like Megalopolis or comparing different versions of films. So I have different motivations: Sometimes it's just completely niche to me, and sometimes it's because I think there's a conversation happening and I want to add my take.

MC: How do you decide whether a story is important enough to warrant a video beyond just your personal fascination with it?

IC: If you think about it, the whole tagline of the MAGA movement—“Make America Great Again”—is based on this image of America that people have in their brains that never really existed. So looking at these films is a really good way of illustrating that. America never was like that, or the reason you think it looks like that is because there were these laws or this censorship in place that made that image available to you.

It’s shocking when you look back and understand the extent to which censorship dictated the course of our cultural history, because there's this idea of freedom of speech that we've been comfortable with for maybe the past 40 years. Something like the Hays Code is really shocking, and the way that states were able to cut up films however they wanted, just based on what they felt politically. The fact that someone in Alabama would see a different film than someone in Massachusetts is hard to fathom. It's important to understand that we all grew up in different environments that were different in a very intentional way, in order to move forward and make the cultural reparations that we need to make.

I think it's also important to go back in time and recognize the figures who pushed against those images, or maybe subverted them to empower people today to say, You're not alone. You may think that history looks a certain way, but it doesn't. People have always been pushing us to be where we are today, and it's important to stand on their shoulders and give them the recognition that they deserve as we look back at our own history.

MC: Walk me through the drafting process for a BKR video focused on a Best Actress winner.

IC: I start with my own assumptions about somebody and why I think that. What is leading me to think of this person this way? Is that true, or do I just think that? Do other people think that? For example, since I'm working on something about Barbara Stanwyck, I tried to find a lot of contemporary writing about her to see where people have landed in thinking about her legacy. Then, rewinding and getting the basic biographical facts down, and trying to square those biographical facts with the way that she was covered at the time. I try my best to not let my own assumptions take full control, and I try to be really obvious about where it is me talking, and where it is journalists or academics giving their two cents as well.

MC: You often touch on the evolution of awards campaigning in your videos. What are your thoughts on the current state of the awards race?

IC: I do think it's changing, because I feel like film culture has changed so much. There's not the same dominance that awards shows used to have, in terms of power over the box office, which ultimately is the point of awards existing. I think part of it has to do with how insular the film community has become and the way that you can target campaigning so specifically. If you think about something like the Andrea Riseborough nomination that shocked everyone [in 2023], that was a case of work smarter, not harder. You’re targeting this very limited group of voters, and that's how you make things happen. So with the proliferation of all of these parties and events and screenings that all of these guilds and critics groups are going [to] together, they can be really smart about the ways that they're going about it. They don't need mainstream audiences as much as they did before.

The expansion and diversification of a lot of awards bodies has made a huge difference in terms of taste and what they're actually picking. Audiences have an idea of what “Oscar bait” looks like, but I don't think anyone would've said, “Everything Everywhere All at Once is Oscar bait,” or, “Anora is Oscar bait,” or, “Parasite is Oscar bait.” There are so many things that are being accepted as possible for awards now that wouldn't have been maybe 10 to 20 years ago.

And the Oscars are moving to YouTube. That is a whole other world in and of itself, and what the award show will look like in a different context. Everything is in flux as they're trying to figure out who the audience for the Oscars [is], and the ways in which the Oscars are actually relevant to the way people are consuming media.

MC: It’s somewhat of a meme that “Awards don’t matter unless my favorite wins, then they matter.” In the current age of social-media bubbles, how do you feel about the discourse around awards season?

IC: I mean, that's the game, right? I don't think award season would be quite as compelling if everybody were happy all the time. That is the fun to me: the way that people are debating it, and constantly going back and forth on why they like or don't like things. It can get messy, and it can get aggressive, unnecessarily so, and I feel like social media is certainly making that worse. But I do think that very sincere appreciation for people that you enjoy seeing on your screens is worth recognizing at the end of the day.

I've been asked before, “If you had to change the Oscars to make it more equitable or democratic, how would you do it?” I think there are many improvements that you can make to slightly change demographics or impose rules that would limit campaigning in some way. But ultimately, every democratic institution is going to have its biases, and they're going to be corrupt to some degree. So it's like, since we have this cultural understanding of awards as something you give to people that you appreciate, how do you maintain the positives of that without destroying the reputations of people or making everybody just unnecessarily angry? I don't know that there's a real answer.

One thing I have come to appreciate recently is something like the Las Culturistas Awards. The categories aren't really competitive, but you still get to say, “You know who we liked this year? Teyana Taylor. We also liked Amy Madigan, and they get different awards for different reasons.” It's just a positive way to approach visiting a year in pop culture without it feeling negative, and I've really come to appreciate that approach.

MC: I agree, especially because everyone's doing such different things. It's like, how do you compare these?

IC: It's inherently ridiculous. The idea of measuring art against each other is like, there's no real answer. It's not math. It shouldn't be treated as a competition, even though that's what this is, and that's how we talk about it. But at the end of the day, I don't remember the saying exactly, but it's like, “Take what you love and leave the rest.” That's kind of my approach. Try to stay above it a little bit and just appreciate what you like and don't get too upset because at the end of the day, these are just rich people getting awards for learning their lines.

MC: What performances did you really like this year?

IC: [If I] had a vote somewhere, I'd be voting for Amanda Seyfried in The Testament of Ann Lee. I loved her performance in that film. I also really love Rose Byrne in If I Had Legs, I'd Kick You—just a really messy-in-a-good-way performance, expressing mess and really anchoring that whole film. And then I loved Jesse Plemons in Bugonia, thought he was great. I loved Wagner Moura in The Secret Agent. Teyana Taylor would be my Supporting. I also love Benicio del Toro in One Battle After Another. Those are my top for the year.

MC: What do you love that you want to keep from award season?

IC: Since the way I entered film was getting to know an actor through their performances, I still enjoy that. For example, thinking about everything Amanda Seyfried has made, how does that relate to The Testament of Ann Lee? What is she showing us in this that she hasn't been showing us before? Or maybe there are things that I recognize that she's bringing into it that add to the performance. Why do I like this? Why don't I like it as much as this? Or why do I like it more than this? It's like you're probing your own taste, and you're trying to understand what draws you to film in general.

I like it when things are a little weird and subversive or ugly or strange. So is that why I like Yorgos Lanthimos as a director? Or is that why I'm not liking the straightforward storytelling that I'm getting in other films as much, because it's just not clicking to my taste level? It's a way of understanding myself. It's a way of understanding what other people think, what the majority likes, as we're getting down to who's winning and who's not. That's all fascinating to me. You can learn so much about the way producers versus actors or directors are responding to films [by] the way that their guilds are nominating things. There's so much to think about and talk about when we're talking about the industry politics of it, but also just the way that people respond to something culturally. As someone who likes pop culture and is, I guess, selfishly interested in understanding my own tastes and others's, I still cling to this as something to pay attention to.

This interview has been edited and condensed for clarity.

When a celebrity RSVPs "yes" to a runway show, the designer usually offers them front-row outfits from their latest collections. See Chanel's Spring 2026 Couture show on January 27, when both Dua Lipa and Nicole Kidman sourced Matthieu Blazy's previous Métiers d'Art line. A few hours later, however, Kate Hudson attended Armani Privé's showing dressed in two-year-old couture.

Five months after "The Maestro" Giorgio Armani passed away, his niece, Silvana Armani, presented her first Armani Privé couture collection as creative director. Following four decades as her uncle's right hand, she upheld his legacy while longtime Armani muses looked on. Hudson, for one, brought a bit of Giorgio Armani glam with Look 71 from his Couture Spring 2024 show (one of Armani's last for the house).

Stylist Sophie Lopez—the same creative behind Hudson's current award season selects—got her hands on the entire couture co-ord, beginning with a shoulder-padded, short-sleeve top. Cascading columns of pale pink sequins decorated the entire silhouette, before black, diagonal beadwork added dimension to the collar, cuffs, and cropped hem.

Hudson twinned with the model in the same optical-illusion pants, which floated more like a fit-and-flare gown down the runway. Don't be fooled: a calf hair-trimmed seam separated each ultra-wide, black leg. Ballooned hems dragged behind Hudson during her step-and-repeat. She didn't accessorize with the model's oversize bangles, but rather black button earrings.

Hudson's first couture show since July 2023 came days after she scored her second Academy Award nomination. (The inaugural nod was for Almost Famous, in 2001.) She was all smiles at the Armani Privé presentation, even after she "spent the last week screaming” about her Oscar news. "[The nomination is] like how I felt about having Rani, my third child," Hudson told WWD beside the catwalk. "You just take it all in differently. You know, you enjoy every moment."

As for the couture collection? She called it "beautiful, like fresh air, ethereal," before adding she's already scanning the atelier's catalog for her next look. Her favorite remains a mystery: "I’m not telling because I don’t want anyone to steal it.”

Hudson has only attended two Armani Privé Couture runways since 2014, but perhaps her 2026 Golden Globes gown locked down her latest invitation. Two weeks earlier, the Best Actress nominee sparkled in a custom halter-neck gown, crafted from slim metallic silver strands of silk. Its rhinestone-encrusted strap evoked Old Hollywood glamour as it cascaded down the dress's spine.

The jury's still out on Kate Hudson's 2026 Oscars dress, but my bet's on Armani Privé Spring 2026 Couture. Now, Hudson and Lopez have 63 red carpet-worthy creations at their disposal. How will they ever choose?

Just about anyone who has logged into Netflix or turned on the radio in the past year has heard EJAE’s voice. Whether K-pop stans, animation enthusiasts, or every kindergartener on the planet and their unsuspecting parents know her name or not, they're certainly familiar with the 34-year-old songwriter's performance as Rumi, the leader of the titular KPop Demon Hunters. But beyond playing HUNTR/X's charismatic leader, EJAE was also instrumental in turning the musical into a full-blown phenomenon, serving as a co-writer on three of the Billboard-topping songs from the soundtrack.

In the months since KPDH became Netflix’s most-watched movie of all time, EJAE has gone from working behind the scenes in studios to gracing the world’s biggest stages and red carpets. Her anthem "Golden," which she co-wrote with Mark Sonnenblick, 24, Ido, and Teddy, is up for four Grammys, including Song of the Year. And it's already started to rake in awards and break records: In early January, she became the first Korean-American woman to win Best Original Song at the Golden Globes. With "Golden" nominated for Best Original Song at the Oscars, she also made history, as the track marks the first K-pop song recognized.

Even as "Golden" started exploding, EJAE couldn't fathom just how much her life was about to change. "My publicist was like, 'You’re going to have no life for six months,' but I was like, Whatever," she recalls, speaking to Marie Claire over Zoom in early December. "I genuinely have no life right now," she adds with a laugh.

Long before KPop Demon Hunters, EJAE, born Kim Eun-jae, had accepted that fame wouldn’t be coming her way. Growing up between Seoul and Fort Lee, New Jersey, the aspiring singer joined K-pop juggernaut SM Entertainment’s training program in 2003, at age 11. She spent 12 years putting in “literal blood, sweat, and tears” in hopes of being chosen to debut as a solo artist. But when other trainees were chosen for groups like Girls' Generation, the singer-songwriter turned her attention to her education—fast-tracking her degree in music and psychology at New York University, expecting to make her debut after graduation. Instead, SM dropped her in 2015, and she faced an uncertain future.

But—just as EJAE put it herself while accepting her first-ever Golden Globe—she turned her rejection into redirection. The would-be music therapist pivoted to music production; two years after she was dropped, she returned to SM for a songwriting camp and penned the topline melody that would become Red Velvet’s platinum hit “Psycho.” She went on to write for artists like TWICE, aespa, LE SSERAFIM, NMIXX, and Billlie, and was also tapped to work on early demos for an in-the-works animated film about otherworldly idols.

“When you don't use that muscle of making decisions on your own, and suddenly you have to do it, it's scary,” she says of her early songwriting days. “Moving to the States, not wanting to live with my parents, and figuring it out on my own really did help me find the beauty in my voice.” It's safe to say that leaning into her unique voice as an artist is exactly why EJAE became "the heart and soul of HUNTR/X," as director Maggie Kang has called her.

Below, EJAE chats with Marie Claire about establishing herself outside of the trainee system, bridging K-pop songwriting with musical theater, and the importance of exploring every side of your artistry.

MC: During your trainee years, you got the opportunity to join a ballad group at 18, but you chose to go to college instead. What informed that decision?

EJAE: Honestly, that decision wasn't that hard because I took my studies very, very seriously at a young age. I feel like I was more mature then than now. I knew that K-pop idol life wasn't forever. Also, being in the industry, I've noticed that a lot of my friends around me were depressed, and seeing that, music therapy was something I really wanted to do and pursue.

On top of that, I had sacrificed so much of my youth—essentially my childhood. I am not kidding when I say I practiced my ass off: “Blood, sweat, and tears” is quite literal blood, sweat, and tears. I wanted to be a solo artist, and that's always been my main goal. I didn't want to be in a girl group. So I think those two combined gave me the confidence to be like, “No.”

MC: Even as a K-pop fan, I had to watch a couple of documentaries to really understand how intense training is.

EJAE: I really went above and beyond as a kid. When everyone was leaving after class, I stayed and kept practicing. I would book studios and stay there for six hours, for eight hours, just dancing by myself. It was brutal, and the fact that there's a lot of critiquing and certain ways you have to eat or look or be. We couldn't chew gum because that would make our jaws bigger. We couldn't do a kimchi squat 'cause that would ruin the knees. It's very difficult to get used to, and obviously, there's a lot of showcases and competition. It was quite rigorous in what we had to learn, but I did work my butt off for it all.

MC: Looking back on your trainee days, did you ever feel like you struggled to fit your natural vocal tone into the kind of sound K-pop companies tend to make?

EJAE: Well, I'm not going to lie. At that time, I wasn't that good at singing. Finding your voice on your own terms and finding your voice because someone's telling you what you need to sound like are two very different things. I think you find more strength and confidence, and you become a better singer when you find your voice on your own.

During that time, SM had a very specific brand or sound. I was definitely told to push my voice to sound cleaner, even though, naturally, I have a low-toned singing voice. I was trying to sound like Ariana Grande—she has a very clean, beautiful voice—but my voice is a little bit husky, kind of Alicia Keys, Adele vibes. Confidence is an important part in singing, and in selling the lyrics and story. When you're confused about your voice, it's really hard to do. So I think that's where I was at that time.

MC: How would you describe K-pop/idol-music songwriting to someone only familiar with Western pop?

EJAE: Being a K-pop idol is about a whole package and a whole experience. When I write for K-pop, it's a very different strategy than for pop. I'm thinking about whether the creative director would have more inspiration from this song concept. Choreography, music video ideas, makeup ideas, those things are very important when writing for K-pop.

I actually got better at singing because of songwriting for K-pop, because it challenges you to do different genres. Sometimes I would do rock. Sometimes I would have to do diva vocals. Sometimes I have to do the prettier NewJeans or TWICE-style vocals, or Rihanna girl crush vocals. I would rap. It made me realize, Oh, I actually like my voice when I do this. Oh, I like it when I do that. Experimenting with my voice is what helped me get to where I am right now, so I don’t regret any of the whole experience I had.

MC: You and your KPDH co-songwriter Mark Sonnenblick have said you had to bridge the worlds of theater and pop to make songs that could be storytelling devices, but also hits. What was that like?

EJAE: It was so, so hard. I remember talking to Mark, like, “Damn, if we figure this out, we're freaking geniuses.” I've never worked on a song for K-pop where it's not just me and the producers or other co-writers. For KPop Demon Hunters, it's me, co-writer, producers, studio execs, music director. We had to fit Maggie [Kang]'s specific vision of the storyline and her taste, but also the studio's taste, Sony's taste, Netflix's taste. It's a lot of layers that we have to go through. Thank goodness Mark is the nicest person in the world. We had no ego. It was all about the song that was really important, the collaborative energy.

And on top of that, it's a movie, but it also has to be a pop song. We really worked hard in making it commercially acceptable and catchy, have the melody still be enough where we can put in lyrical words that fit the storyline of the characters. I love musicals, but they can get very wordy. A lot of people can say it sounds corny because it's quite literal. Whereas with pop music, simplicity is the thing. It was really important to me as a pop writer that the concept not only works for the movie, but works for everyone. If a random person heard it, they can relate to it too.

MC: “Golden” is obviously the biggest hit, but “How It’s Done” is probably my favorite song of the movie. How did you approach HUNTR/X’s take on the girl-crush sound?

EJAE: “How It's Done” was the hardest song I worked on. There were so many different passes, trying to find a hook that’s hook-y. We were given this massive track, and we needed a melody that's good enough that can pierce through it. If a melody was too busy, then it wouldn’t work. When we got that dun-dun-dun, we were like, “Yes! But what do we say?” [One day], I think I was watching a TikTok, I said, “That's how it's done.” I was like, “Wait, ‘done, done, done…How it's done, done, done.’ Oh shit. That works really well.” I think that was an inspiration too: trying to find sentences that people use every day that can work as a pop song, but also, it works in the film. HUNTR/X shows how it's done.

The raps were where we took full advantage of K-pop writing, which worked really well with theater. All the verses had rap, so we could put all the storyline in there, and the chorus could be as simple as possible. So everything was just really strategic. It was a hard song, but super fun.

MC: You released your debut solo single, “In Another World,” in October, as “Golden” was starting to gain awards-season buzz. Why did you choose an emotional ballad for your first release?

EJAE: “In Another World” was just exactly how I felt at the time. Everything happening right now is so weird. I thought this would all happen in another world, so I wanted to talk about that. I’m sure a lot of people are going through times when things don't happen the exact way they want it to happen. I don't know what life is going to give me, especially right now when there's so much attention and spotlight on me. So “In Another World” helps me deal with that pressure. Being like, You know what? If it doesn't work, okay. Maybe in another world, it would be fine, but right now it's not meant to be in this lifetime.

“Golden” and all these K-pop songs were very high energy, very performative melodies. “In Another World” is a different side of me, a little chill. I wanted to show that personal side.

MC: You’ve mentioned that you’re glad fame came at this stage in your life. As you craft your solo music, what do you want to explore? What does the music that EJAE makes in her 30s sound like?

EJAE: My core is a songwriter, so my core is always working with artists and writing great music. Taking whatever we're feeling, trying to find a universal emotion that we can express in a different, creative way, that's songwriting. I want to continue that and transition into the pop world as well. I mean, pop has always been my thing. It's just that K-pop was so near me. I was living in Korea, and I'm clearly Korean. But I want to be able to show that K-pop is more than just Korean pop. It can go everywhere. With KPop Demon Hunters, I wasn't thinking, Oh, it has to be K-pop sound. I was using a hybrid of everything. So I’m very interested in bringing some K-pop elements into the pop world and constantly growing as a songwriter.

I think that being me as an artist, for me, is finding honest concepts. I love that “Golden” helped unite people and heal a wound that people sometimes didn't know they had needed to heal. I want to continue being that kind of vessel for the songs to be famous, not really me. That's where my headspace is at. EJAE is a platform for these songs that've just been gathering dust, that have potential, that I love. I want to release them and continue to keep writing great songs.

MC: Why is the freedom to work in different genres important to you as an artist?

EJAE: Because I feel like that's how everyone is. We're not this or that. I'm Korean American; I'm not just Korean or just American. I'm a hybrid of both. I don't like it when people are like, “Oh my God, she's so Korean here. Oh, she chooses when she's Korean, when she's American.” No, that's just who I am. I'm not just always feminine; I also have a masculine side to me. I don't always just sing low notes; I can also sing high notes. It just comes in different ways. I could be silly and goofy, but also hella sensitive. You're not just one thing.

The beauty of KPop Demon Hunters is loving all sides of yourself. That's what makes you grow as a person, not when you're boxed in. I mean, fish literally cannot grow bigger if they're in a fish tank. I think it’s very important for people to understand that binary thinking can sometimes be very limiting. Having the freedom to do a lot of things in different ways really helps you to grow, and also not just for yourself. It will also inspire others to open up and to explore and do things. And that's KPop Demon Hunters in a nutshell, right?

This interview has been edited and condensed for clarity.

Zinzi Coogler needs a bit of me time. It’s a Sunday morning in West Hollywood, and the producer, clad in a cozy cardigan and oversized gold frames, is getting a much-needed IV treatment after a night out. The day before, she had flown to L.A. from her home in the Bay Area to attend the LACMA Art+Film Gala where Angela Bassett honored her husband, famed director Ryan Coogler, for his visionary career.

While Ryan gave a ruminative speech about his early film-school days at the Gala, Coogler was perhaps the only person in the room whose memories of the would-be auteur went all the way back to when they were teens. As usual, Coogler was a step out of the spotlight, his most-trusted advisor long before they were invited to red carpet events, watching with pride from the audience. But she’s hardly been just a casual observer.

This year, Coogler, 40, could potentially see her name on a golden statuette, with Sinners entering awards season as a frontrunner in nearly every category for which it qualifies. (The film has eight mentions on 2026’s Oscars shortlists.) The Mississippi-set historical vampire musical marks Coogler’s first time serving as a lead producer on a project; the “(p.g.a.)” after her name in the credits means that she made the big creative decisions, alongside Ryan and their business partner, Sev Ohanian.

“I was in the trenches for real; and responsible for it, like legally,” she says, with the laugh of someone remembering past overwhelm. “I had to sign papers.”

If you didn’t know that Coogler was a major force behind the film (and so many others), that’s intentional. In many ways, she’s quietly declined to participate in the performative aspects of fame, eschewing the industry siren song to build personal brands, parasocial fandoms, and a social media aesthetic, in favor of staying behind the scenes. Instead, she chooses to let Ryan be the one who goes out to the press to speak on his influences and give the viral soundbites and glimpses into their private life. The couple’s production company Proximity Media (which they founded with Ohanian) has a podcast In Proximity to discuss the work that goes into making a film. There have been talks of a "Zinzi episode," although she’s yet to appear.

Our early November interview, in a chic hotel lobby off Santa Monica Boulevard, is one of the rare, solo press moments Coogler has ever agreed to. Sitting on the opposite side of an L-shaped leather sofa, her hands stay in her lap, slightly fidgeting unless they’re holding a cup of coffee, as she tells me how far this—this being talking to a journalist; this being centering herself—is out of her comfort zone.

She’s “definitely not a natural” at the public-facing portions of her job, she says, adding that “it's a hard question to think about how I view my own self.” She doesn’t seem down with putting her individual contributions to Sinners on the record. Rather, she spends a great chunk of our time expressing gratitude and pride in her team; acknowledging each of her collaborators and making sure to include their full names and titles.

Coogler could be described as shy. But that’s not really it. While there’s a certain truth that she doesn’t find comfort in the spotlight, she isn’t shrinking—she’s flying in the face of expectations that have been put on her. Black women learn early on that we have to speak up to be recognized. The world will pass us over many times before we’re given the flowers we deserve. For Coogler, that's only amplified under the microscope of celebrity, where the public makes assumptions about her being just “the wife,” even as she’s the very heartbeat behind the most-successful original film in over a decade and part of a powerhouse producing trio. It takes a deep well of confidence to let your accomplishments speak for themselves. But for Coogler, her work has always been her pulpit.

Before she was an artist, she was an athlete. Growing up in Oakland, California, one of seven kids, Coogler discovered a love of running at a young age. In high school, she was an award-winning scholar athlete who served as track-and-field captain for three years. One day, she caught the eye of a football player from another school. Ryan would recall two decades later that she was “kicking everybody’s ass on the track,” and he had to work up the courage to ask for her number. The pair's first date was at the Regal cinema to see Bring It On.

Going to the movies wasn’t a regular hobby for Coogler before she met Ryan, but it quickly became their favorite pastime. “Zinzi had the most incredible taste,” Ryan shares via email, over the holidays in late December, recalling their near-daily trips to the theater the summer before they went off to college. “She would always break down why certain stories worked for her, and she could always articulate what was holding her back when something didn’t. I was in awe of her capacity for understanding the story and communicating ways it could improve since then.”

Coogler’s athletic career took her to Fresno State, where she studied communicative sciences and deaf studies while remaining a standout in both track and cross-country. Speaking to her now, Coogler recognizes that her student-athlete years, where she perfected endurance and excellence, were foundational to her current work.

“There's something about that diligence that filmmaking requires. Once I knew that Sinners was the project in front of us, it was just heads down,” she says. “[Ryan, Sev, and I] just locked arms and made a plan for how we were going to accomplish it and do whatever was necessary to make that happen. We spent countless hours just trying to make it right.”

College is also when Ryan and Zinzi’s most well-known anecdote takes place: When he was a broke college football player, trying to format his first scripts using Microsoft Word, she bought him a copy of the industry-standard screenwriting software Final Draft. That $300 investment is now a day-one, ride-or-die story that has cemented them as Black creative couple goals. Of course, the then-student had no idea that she was helping to change both of their lives. Even recalling it now, she counts the intention behind the gift—helping the person she loved pursue his dream—as much more important than what it eventually beget.

“Gifting was one of my love languages because I loved to give something that would give joy to someone,” Coogler says. “I knew nothing about screenwriting, but it was something that he had a real interest in. It was very expensive for us at the time, but if that would give him that joy, then it was my pleasure to be able to do that.”

When Ryan moved to L.A. in 2008 to attend USC’s film school, Coogler remained in the Bay Area, working for the nonprofit Deaf Counseling, Advocacy & Referral Agency as an ASL interpreter. The couple stayed together long-distance, and as they grew in their respective careers, they began a lifelong practice of “pulling each other into each other's work.” When she was in L.A., she’d sit in on his film classes. She also served as assistant director and script supervisor on his 2009 student short Locks, her first time working on an award-winning production.

As Ryan’s career took off—from the underdog success of Creed to the billion-dollar machine of Black Panther—so did their relationship. They married in 2016, a year after Coogler left her job at DCARA and a few months after news broke that Ryan would direct Black Panther. They've welcomed three children together since 2019.

Coogler doesn’t share a specific moment where a flip switched and she went from bystander to professional. She was “not really thinking about it for myself” when it came to filmmaking. But she enjoyed being an “observer and supporter” from the first screenplay draft to the final post-production edit “with all the context that goes into seeing his projects from concept to completion.” As she puts it, “I got film school the other way.”

Her fingerprints are all over her husband’s films if you know where to look. Speaking to Filmmaker Magazine last April, Ryan revealed a note Coogler gave him on the Black Panther script. She suggested that a defeated Killmonger (played by Michael B. Jordan) should reference going to jail, which led Ryan to crafting one of the most powerful quotes of the entire film. “I feel like I'm the audience member,” Coogler says, describing her role as, “the person who sits kind of neutrally and gives that perspective on any given story.” It’s just one example of too many to list.

And with projects like Sinners, her creative touch is only more visible. "It was amazing to have her presence as a producer on set," Autumn Durald Arkapaw, the cinematographer for Sinners, writes in an email. "One special thing she wanted to make sure we captured is the moon. She worked with me and my camera team to get the necessary gear since it required a special lens. We missed our first two shots but eventually captured it at the end of our schedule. It’s such a beautiful shot and so important in our storytelling. I always call that the 'Zinzi moon.' The film is infinitely deeper and more honest because she was there to champion it."

The husband-wife creative duo is having a moment in Hollywood in recent years. See the industry-wide acclaim for teams like Margot Robbie-Tom Ackerley (Barbie), Greta Gerwig-Noah Baumbach (also Barbie), and Christopher Nolan-Emma Thomas (Oppenheimer). Still, a more cynical person could wonder if Ryan’s insistence to include Coogler in “literally every step of the process” falls under codependency.

Coogler even recognizes that it can be a bit extreme; chuckling as she recalls the early days of tagging along to “the most inappropriate meetings.” But when asked if she’s ever felt her inclusion was unnecessary, in the days when she was sitting in on deal meetings without an official producer title, she points out that it’s not a question of should she? but why not? Hollywood, as nepo baby discourse has revealed, can be a collection of family businesses.

“We don't have filmmakers in our family,” Coogler says, “so we have each other to turn to and to lean on, and we've become each other's sounding board and safety net…I think we've found a rhythm and a way to do it together in a way that brings us joy.”

When the Cooglers and Ohanian started Proximity Media in 2018, they were clear-eyed in the mission behind their movies: “We find ourselves leaning into stories about communities that are, I guess you could say, underrepresented, but in a way that shows that complexity and vibrancy and joy in life,” Coogler says.

This perhaps feels the truest reason for why she plunged into filmmaking full-time: to put her advocacy work on a much larger scale. Most notably, Tessa Thompson’s character in Creed, who lives with progressive hearing loss, was influenced by Coogler’s family members who identify as hard of hearing. Through the film’s impact, she saw the opportunity to highlight that community’s stories “at a much different scale.” It was a milestone in Black deaf visibility. Sinners only continues that work, becoming the first streaming film to offer a Black American Sign Language (BASL) interpretation.

When it comes to what's next though, Coogler is tight-lipped; the only name she’ll drop among Proximity Media’s many projects is the long-hyped X-Files reboot. “I wouldn't get ahead of myself to think about next year,” she says. “All I can think about is right now, and I'm just overwhelmed with the positivity around the film and the work that we've done. I think it's a privilege to be a filmmaker. It's not lost on me, and the time we're in, that we get to tell stories that we hope resonate with the audiences.”

Instead of dreaming of gold statuettes on a mantle, Coogler’s thoughts about legacy lie with the three children waiting for their mom to return home. She’s extremely private about her family. When asked whether her kids dress up as Black Panther for Halloween, she assures that “they’re too young for that” before moving on.

What she will share is that she hopes her work will usher in a softer world for them. “I think that's why we're so passionate about the stories we tell, because kindness is so important, and maybe if we have a deeper understanding of each other, that kindness wouldn't come so difficult. I hope that would be an influence to our kids, regardless of what comes about.”

Photographer Lauren Kim | Stylist SK Tang Hair | Stylist Marcia Hamilton | Makeup Artist Tasha Reiko Brown | Creative Direction Montse Tanús | Entertainment Director Neha Prakash | Producer Lindsay Ferro | Line Producer Evan Duran | Location Special thanks to the Kimpton La Peer Hotel

An earlier version of this article misstated the year Proximity Media was founded. It was 2018, not 2021.

Josh Safdie, the indie auteur who helmed A24 hits like Good Time and Uncut Gems alongside his brother Benny, is known for painting portraits of New York’s underbelly by casting both professionals and non-actors from the niche communities depicted on screen.

His solo directorial debut, Marty Supreme, is no different. Set in the early ‘50s in N.Y.C.’s Lower East Side, the frenetic sports movie stars Timothée Chalamet as an aspiring ping-pong legend who will do whatever it takes to achieve his version of the American Dream. Opposite the 29-year-old are fellow established actors like Gwyneth Paltrow and up-and-comer Odessa A’Zion. But the non-actors make just as much of a splash on screen. Consider filmmaker Abel Ferrara (as gangster Ezra Mishkin) and Shark Tank investor Kevin O’Leary (as business magnate Simon Rockwell), as well as the several table tennis fanatics, baseball card dealers, and real-life NYPD officers who get screentime.

Safdie crafted the instantly memorable ensemble with the help of casting director Jennifer Venditti. The founder of the casting agency JV8 INC, who got her start casting fashion editorials for publications like W Magazine, has worked with the Safdie brothers since 2014’s Heaven Knows What; since then, she’s worked on countless celebrated productions, from American Honey to Euphoria. Her street-casting instincts have made her the gold standard for finding faces the industry didn’t know it needed.

Venditti, 53, tells Marie Claire over Zoom in early December that she attributes her career to a lifelong obsession with people-watching and her nature. “I am an insatiably curious person who loves humanity,” she says. “This is just an opportunity to learn about people and learn about cultures or niche environments I wouldn't know about otherwise. It's a great opportunity to expand my compassion for people and people who are different than me.”

Being able to open up that window into unique communities and put them on screen is why Venditti does what she does. She explains, “It's this idea of expanding people's ideas of, These are how other humans live. These are who other people are. You might not be friends with someone like this, but we're going to show you the beauty and the poetry of these humans.”

This year, Venditti lent her skills not just to Marty Supreme but to Benny Safdie’s Smashing Machine and Yorgos Lanthimos’s Bugonia—which collectively received eight Golden Globe nominations. And in 2026, she could be recognized by the Academy for her work, with the Oscars’s introduction of an Achievement in Casting category. (“Finally! 98 years!” Venditti says of the moment.)

Here, Venditti opens up about her approach to Marty Supreme—which included setting up a ping-pong table in her office—the art of street casting, and why she’s the person producers call when there’s a seemingly “impossible” role to fill.

Marie Claire: Marty Supreme is a New York movie, a sports movie, and also a period piece. What research do you do when you approach a project like that so it feels authentic?

Jennifer Venditti: Josh, [his co-screenwriter] Ronnie [Berstein], and Josh's wife, Sara [Rossein], who's one of the producers, the research that they've been doing through the whole process of writing is so deep. So when I get involved, there's this process where they share all of that with me. I get to see all the reference pictures and videos. I get to hear all the backstories of all the characters. I get to hear if any of the inspiration has been taken from something real. And then we usually have specialists. With this, it was table tennis people. I spoke to them. We went to [table tennis] clubs. I approach it from a place of, it's not just the script. I want to feel the world. I want to understand the world.

MC: The film has such high energy. How do you assess that during casting? Was anyone playing ping-pong in your office?

JV: Yes. Josh gave me a table. We have a whole process that we take people through. We will pick an improvisational scene—like a situation that has an energy similar to the energy in the movie. I'll have professional actors who are really good at improv do the scene with the person, and it's like they're already infused with the spirit of what that energy is in this room. I always say, “If the walls could talk in that room!” because it will get so intense, and it's always heightened. Everyone sitting in the waiting room is hearing people yelling and screaming, and I'm sure it's intimidating for whoever hasn't done it yet who's sitting out in the hallway. Like, What the hell's going on in that room?

We researched and met actual players for certain roles, like Koto [Kawaguchi, as Marty’s competitor Endo] or the guys playing in the tournaments. But it wasn’t a precursor or disclaimer that we put out, like, You should be able to play table tennis, for the guys in the bowling alley. Some of those guys were actors, but Levon Hawke came in, and it turned out he was a great player. Then Isaac [Simon], who plays the guy that’s really tall with the intense face, was someone I scouted for another project. He was a baseball memorabilia dealer with his dad. He came and was an amazing player.

Whether it's an actor or a non-actor, we want to create a safe space and a space of play and experiment. We don't want people to think there's a way you're trying to get this right. My whole thing that I always say to people is, “There's nothing to get wrong, except if you betray yourself and you try to pretend to be someone else, because we have you here because there's something about you.”

MC: How would you describe the experience of having non-actors opposite professionals, including icons like Gwyneth Paltrow, who came out of retirement for Marty Supreme?

JV: When you have someone who knows where the scene is going, they can ground it. They understand the beats and where the scene has to go. And then when you have someone who has no idea, they create this magic and mystery because life is unpredictable. [For actors], one of the hardest things is where it has to go, but then you have to forget that because, in life, you don't know where you're going. So then this person who doesn't know where they're going creates that mystery for them.

In that scene in Central Park with the cops, those were not actors, and there's an unpredictability with them. That creates the energy of that scene, where [Gwyneth and Timothée are] nervous. They don't know what these guys are up to. It’s that magic.

MC: You’ve said that you and the Safdie Brothers appreciate “the cinema of actual life.” That realism is certainly why so many people love their movies, but what do you think it lends to a film?

JV: It’s hard to articulate, but when it happens to me, it just draws me in more. It's like this entry into some other world that you feel like you're getting access to something. It's special.

When I first started scouting 20-something years back in the day for fashion, I would have a Polaroid camera, I would be in some obscure place, some little town, and I would see a face, and it would be like, If I don't take this Polaroid, no one is going to get to see it! There was no Instagram, there was no YouTube, none of that. It was like, No one else is going to get to experience this thing that I’m experiencing right now. Now that we can watch Instagram all day or YouTube and get that experience, but I was like, If the photographer doesn't pick this person to be put in the magazine, or if they don't get chosen for the movie, no one will get to see the beauty of this rare person that's hiding in this little town somewhere. So it felt like a portal. It allows you to travel someplace.

What my job is, I'm a conduit, like, Look at what we get to see. Look what we get to experience. Look at all the different kinds of humans there are. And I think that's what [the Safdies] are doing.

MC: 2016’s American Honey was one of the first major features you cast, and that took you to strip clubs and Florida beaches to find people. In the years since, what are some of the other unexpected places your work has taken you?

JV: I've had too much life now. When I first started out with W Magazine, I would go to the favelas in Brazil. There were these coal mining towns in West Virginia. I used to scout in New Orleans. I was scouting something in Budapest, and the language is so hard. I had a piece of paper translated, and I would try to go up to people, and they would start running, thinking I was trying to steal something from them.

For Good Time, we cast at this place called The Fortune Society, which is this incredible place where, once you get out of prison, they help you transition. In Uncut Gems, the whole Diamond District and that world, I am going over to these big dealers’ homes and seeing how they are in their family lives. It was incredible. Then, for Marty Supreme, the big thing was the tennis clubs. I had scouts in the streets in New York because it’s a New York-centric story.

I’ve tried to do strip clubs again, and it’s not the same as it was before. Back in the day, I would go to places, and I'd be sitting there waiting for people. It takes longer to find people now. We do a lot of stuff online, which is sad.

MC: What is your favorite place to people-watch in New York?

JV: The subway is a great place. You can sit there, and it's constant people coming in and going. The thing about New York that’s so great [is] you can go to so many different places and be in a completely different community.

[In New York], everyone is so aware of themselves that it’s like I’m always looking. I used to not be able to let one person go by me. I would become obsessed and have to talk to the person. Now, I trust that the person will come to me. I don’t have to go talk to every single person, and I can let someone go, especially if I’m not in the middle of a project.

MC: When you’re street casting in overlooked communities, how do you gain someone’s trust so they don’t think you’re being exploitative?

JV: It’s all in the energy exchange. If you are clear on the intention of what you are doing, have you found the deeper meaning? Are you opening your heart and not judging? Be conscious of not trying to just take and not give. If not, then the “right” person will respond and benefit from the experience. Also, make sure you don’t stand out; try to blend in. Lastly, it sometimes takes time to build trust. Invest the time, if you have that luxury, don’t rush people.

MC: Your audition process includes an interview, so you can get to know the person better and see how they relate to the character. What is your secret sauce to get people to open up to you and be their authentic selves?

JV: The secret sauce is to be genuine. The thing is, I don't have an ulterior motive. Obviously, it's my job, but I’m not like, By the time I get done with this person, I have to figure out all these things with them. I love people in this way that there's a deeper philosophical aspect to it. I'm so curious, “How are you doing this human thing? We're all here being human in our own ways—what's the experience for you in this way?” I am fascinated by what it means to be human, and that comes from a deeply, deeply genuine place.

MC: Have you ever had an experience where a producer or someone thought it would be impossible to cast the right authentic person, and you proved them wrong?

JV: I am literally the person who people call and go, “Okay, we have something impossible. Let's call Jen Vendetti.” That was recently with Aidan [Delbis, who played Don], in Bugonia. Before that, another film that came out this year, Preparation for the Next Life, [the actress] had to speak Uyghur and Chinese. That is a very small population that we had access to. That was very hard. Sebiye [Behtiyar, who was cast in the leading role, Aishe] is very special. That was a needle in a haystack.

There is something cool about being challenged. It also feels like destiny when you find the person. With Aidan and Bugonia, it was like, A neurodivergent person who’s going to be able to handle the intensity of this script, be okay with the things that happen, and not be messed up from it, and also be able to go to this other country and be in a lot of different things that might not speak to someone on the spectrum. It turned out that he loves dark matter. He’s really interested in films like that. He wasn’t upset at all. He thought it was funny. He was super great at improvising and being himself. That's kind of the mystical part of it, like, “Oh, I’m just facilitating your destiny in some way.”

MC: You’ve spoken about how you’ve always been obsessed with people-watching. How has your relationship with it changed since becoming a professional observer?

JV: I have to have a little bit of a boundary. Because I'm doing it so much that it's being satiated in another way, in my real life, I actually like to spend a lot of time alone. I like to be in nature. I need time away from it. I tend to not want to small-talk with people and meet everyone. My book is called Can I Ask You a Question?, but I'm learning as I get older that sometimes I don't have to ask the questions anymore. There's something about not having to know everything.

MC: Is there someone or a face you've never forgotten? What gives them their lasting impression?

JV: There’s not just one. In the beginning pages of my book, there are faces blown up, and there’s a little boy I saw on the subway. I took a picture of his reflection out of the window. He has these big, saucer eyes, and he's looking up. They didn't speak English; that was back in the day, when I wanted to, but I couldn't get his info. I got nothing. But I have that picture, and it's so cinematic. I was haunted by him forever.

MC: What is a kind of project that you haven’t cast yet, but would be a dream? Or a dream location to scout in?

JV: I have a dream I can say that’s not necessarily involving scouting or casting, but I do want to make a film. I always say it's a film about humanity through the lens of casting.

For a while, I have been very interested in hospice. The idea that I’m watching life [through my work]—I was present for my dad's death.There’s something super meaningful tied with what I do now that it feels like an evolution in some way. I'm not sure how that's going to merge with what I'm doing in the world, but I'm interested in that as well.

MC: When you started, you aspired to expand the idea of beauty. What progress do you think the industry has made? Do you feel like it’s maybe caught up to you?

JV: Oh, my God, finally! It's almost embarrassing to talk about it now. I'll always have to disclaimer, like, “This was at a time when I started in the fashion industry.” It was so different. I hate to say it, but I'm like, “I was right, bitches!” [Laughs] I'm kidding, but it's just crazy how slow everything has taken. You just have to sit there and be like, This is where humans are flawed.

I think the thing that's so cool about Marty Supreme, which a lot of people say after, is, “Oh, my God. It’s so amazing to see people who look like people, or people who have lived, or to see examples of faces that aren't what we always see on screen.” I am not trying to say I don't like to see perfection, and whatever that is, too. I'm just like, If we're only seeing that, let's see the range, and then everyone can choose what their preference is. Let's open up the viewfinder.

This interview was edited and condensed for clarity.