This article explores the evolving landscape of fashion in Hollywood, highlighting the diverse approaches of celebrities on the red carpet. It contrasts the bold, attention-grabbing styles of stars like Teyana Taylor and Timothée Chalamet with the more understated elegance of Jessie Buckley and the classic sophistication of Jacob Elordi and Paul Mescal. The piece also notes the impact of fashion on promoting films and the ways behind-the-camera talent are showing their personal style.
We’ve already started to see some of the most interesting characters in Hollywood dressing the part: Teyana Taylor in a vertiginously cut Tom Ford dress by Haider Ackermann to the Time 100 Next gala late last year—the kind of sartorial irreverence only she could propose as black tie.
And Timothée Chalamet and Kylie Jenner in ping-pong ball-orange, upped the ante of how stars can leverage fashion to promote a film by way of a viral look. These two know well how to be famous, and understand how many eyes are on them when they step out together—why not embrace the circus? Alternatively, Jessie Buckley is embodying the movie star in her own, subtle and sophisticated way by wearing mostly black and white and offering resistance, in a sense, to the sartorial spectacle of the red carpet. Buckley, who is styled by Goldberg this season, has been wearing custom Dior and Chanel and The Row—the most coveted of labels. She looks great, but most of all looks like herself. How fabulous. The same could be said of Jacob Elordi and Paul Mescal, who look every bit the leading man without the gimmick of the internet boyfriend—no red carpet thirst traps or attempts at standing out for no reason at all. They look good, sexy; Elordi in a leather tie and Mescal in tuxedos worn over silky knit v-necks, both at the Critics Choice Awards. Even those behind the camera are coming as they are: see Chloé Zhao, in witchy and ethereal Lanvin and Rodarte frocks. In the last year, the conversation around fashion could be neatly packaged into two separate bundles. Within the industry, it was a time of disruption: close to two dozens of luxury fashion houses, including giants like Christian Dior, Chanel, and Gucci and small-but-mighty favorites like Loewe and Dries Van Noten changed their creative leads, altering the fashion landscape and the way in which we will dress moving forward. Giorgio Armani, one of the industry’s last-remaining working patriarchs, died in September at 91; and the Prada Group, which owns the Prada brand and Miu Miu, purchased Versace after Donatella Versace’s exit from the helm of the label she safeguarded and spearheaded for close to three decades following her brother Gianni’s murder in 1997. Fashion, in an emotional sense, is moving into 2026 without the work of two of its guiding lights. From the outside looking in, fashion grappled with the rise of newly ever shrinking bodies. Thinness, now commandeered by Ozempic and other GLP-1 drugs, refashioned the style landscape as models, actors, influencers, and even athletes were downsizing to new extremes. Clothes on the runways mostly shrank to accommodate to these standards of yore, which had been challenged by the body positivity movement of the late 2010s but were now being resurrected and revitalized. The number on the scales and measuring tapes seemingly mattered more than ever before, and if that wasn’t enough, but the adage “age is just a number” took literal meaning: The popularization of deep plane facelifts, and the conversation around the wealthy looking decades younger, took a toll on fashion, too. The new luxury is not just what’s in one’s closet, but how youthful and tiny that one can pay to look. These two ideas played out on the red carpet in noticeable and memorable ways. More celebrities are wearing runway samples and dressing their new bodies in revealing ways—naked dressing was top of mind, as was what I like to call the runway-to-red carpet Olympics: Who can get the runway sample on the red carpet first and faster? The designer shake up was apparent with to brands’ celebrity ambassador roasters: Nicole Kidman, a face for Balenciaga under Demna, who left the brand in March of last year for Gucci, moved on to the new Chanel now designed by Matthieu Blazy, as did Edebiri, who was a muse of Jonathan Anderson’s at Loewe. Anderson is now designing Dior, and he took Lee with him to the label from Loewe. Jacob Elordi remains an ambassador for Bottega Veneta, but is now wearing designs by Louise Trotter. On the other hand, it meant that both celebrities and designers were clamoring to debut a designer’s first look or collection: Timothée Chalamet and Elle Fanning premiered Sarah Burton’s new Givenchy at the Oscars last year, and as did Julia Roberts and Amanda Seyfried—with the exact same look, mind you —at the Venice Film Festival. But what, pray tell, does this mean for the 2026 Golden Globes this weekend and the rest of awards season? As the red carpet season kicks off this Sunday in earnest, the fashion pageantry is about to get serious. Expect newly-minted ambassadorships on display—hello, Chase Infinity, now with Louis Vuitton!—plus more of Ariana Grande’s vintage collection on display and a shortening of the runway-to-red carpet pipeline as the new men’s and couture collections are to be shown later this month in Paris and Milan. My plea: Be funny or be serious, and above all be yourselves.
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