America Ferrera Stuns in Sparkly Barbie Pink, Rita Moreno Waves in Statement Black on Oscars Carpet 

Rita Moreno poses on the red carpet during the Oscars arrivals at the 96th Academy Awards in Hollywood, Los Angeles, California, US, March 10, 2024. (Reuters)
Rita Moreno poses on the red carpet during the Oscars arrivals at the 96th Academy Awards in Hollywood, Los Angeles, California, US, March 10, 2024. (Reuters)
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America Ferrera Stuns in Sparkly Barbie Pink, Rita Moreno Waves in Statement Black on Oscars Carpet 

Rita Moreno poses on the red carpet during the Oscars arrivals at the 96th Academy Awards in Hollywood, Los Angeles, California, US, March 10, 2024. (Reuters)
Rita Moreno poses on the red carpet during the Oscars arrivals at the 96th Academy Awards in Hollywood, Los Angeles, California, US, March 10, 2024. (Reuters)

America Ferrera bid a fond awards season farewell to "Barbie" on the Oscars red carpet Sunday in a stunning, sparkly Atelier Versace gown in the film's signature pink, while Rita Moreno wore a huge smile and a statement black gown from Badgley Mischka.

"America Ferrera did bombshell right and gave us the cool Barbie pink moment we needed this whole time, aka it didn’t smack us over the head," said Brooke Bobb, fashion news director for Harper's Bazaar.

Hollywood's big night in Los Angeles included few fashion risks, with many sticking to classic silhouettes, black and other standard colors. Others offered an under-the-sea-vibe in soft seafoam colors with mermaid crystals and shell-like designs.

Emma Stone was in the sea camp in a soft pastel strapless look with a faint shell pattern in mint and a wide peplum at the waist. It was Louis Vuitton. Hailee Steinfeld in Elie Saab was also sea-like in sheer ethereal blue-green with wings attached at the wrist. Lupita Nyong'o was sea-adjacent in feathers and sequins by Armani Privé.

RITA MORENO TAKES THE RED CARPET Moreno, at 92, waved to photographers as she showed off her pleated taffeta and velvet gown. Brittany Snow offered a refreshing show of color in a bright strapless custom Mônot dress paired with a statement choker.

Cynthia Erivo, in custom Louis Vuitton, shut down the carpet in emerald green lamb leather, dinosaur-like spikes along the back of a large-shouldered jacket. Emily Blunt and hubby John Krasinski matched in off-white, she in Schiaparelli couture with shoulders that floated above her body, that extended silhouette touch a mini-trend of the night.

Anya Taylor-Joy was full shell in a Dior Haute Couture strapless look in a sparkly scallop design.

DA'VINE JOY RANDOLPH IN LOUIS VUITTON Da'Vine Roy Randolph, on the top of her fashion game this awards season, wore an A-line pale blue tulle gown from Louis Vuitton with oversized sleeves embellished with tulle fringe. Ariana Grande also went big in a puffy pink gown that also had huge sleeves on a matching coat.

InStyle beauty director Lauren Valenti lauded Randolph's effort.

"I loved Da’Vine’s beauty homage to Mae West, which featured cat eyes, glossy lined lips and va-va-voom side-swept blonde waves," she said.

Lavender had a moment on a few. So did Billie Eilish in a Chanel schoolgirl look with a black jacket, pattern skirt, white socks and black Mary Janes. She and others on the carpet wore red pins supporting a ceasefire in Gaza.

"This year in general, the power of the red carpet was driven by women whose confidence felt utterly authentic and not like an exercise in branding," Bobb said. "Embracing personal style really is the only way to land on the best-dressed list these days."

The "Godzilla Minus One" group, meanwhile, showed up carrying toy monsters.

MOSTLY BLACK FOR THE MEN Many men stuck to black in tuxedos and other looks, including a fashion star of the awards season, Colman Domingo in a double-breasted tuxedo look, a custom Louis Vuitton, paired with cowboy boots and a jewel at the center of his bow tie. He wore a pinkie ring that once belonged to the man behind his "Rustin" character, Bayard Rustin, as he has throughout awards season.

"I wanted to shine like a diamond″ he told E! "I’m having a great time."

Speaking of gems, Lily Gladstone won the jewelry game. She paired her midnight blue velvet gown with a Bulgari necklace in white gold with turquoise touches and blue oval tanzanite at the center.

Her custom Gucci gown was created in collaboration with Indigenous designer Joe Big Mountain of Ironhorse Quillwork. It featured a hand-wrapped porcupine quilled border in blue with a natural woven star design and sterling silver-plated bead edging.

Ryan Gosling and Bradley Cooper also went for black tuxedos. Gosling wore Gucci with silver bead piping, and Cooper wore double-breasted in Louis Vuitton. No ties for either, along with others.

"Bradley Cooper tells Brad Pitt to move over by leaving his tie, and Gigi Hadid, at home and instead brought his tan, a double-breasted tux embellished with turquoise buttons and slicked hair that took my breath away," said Larry Curran, an independent brand consultant who has worked with Saks Fifth Avenue and Bergdorf Goodman.

SANDRA HÜLLER STUNS IN SCHIAPARELLI As for the women, Sandra Hüller was on Curran's best-dressed list.

"Correctly, she skipped earrings and chose a diamond necklace (Cartier) that brought balance to the oversized, off-the-shoulder wings of the dress, and another sparkly embellishment placed in between them," he said.

There was a predictable spray of sequins for the women. White looks also represented, including Kirsten Dunst in Gucci. There was lots of black for the women, too, including a custom Schiaparelli for Hüller with extended shoulders and the perfect fit.

Erika Alexander of "American Fiction" wore a white strapless gown with a black skirt trimmed in pastel tulle. The designer, Christian Siriano, said it was made in a miraculous four days.

THE KIDS ARE ALRIGHT ON DRESS-UP NIGHT A couple of little cuties in nominated short films were delighted to walk. Porché Brinker of "The Last Repair Shop" was in ethereal soft blue, and Juliet Donenfeld of "Red, White and Blue" looked all-the-way grown up in a blinged-out strapless dress.

Red, an "IT" color of the awards season, had some early enthusiasts as arrivals heated up.

Issa Rae, always a red carpet standout, failed to disappoint in plunging deep green from Ami Paris. The top sparkled.

"I am wearing green for good luck," she said. "I wanted to feel old Hollywood."

Julee Wilson, beauty editor at large for Cosmopolitan, praised Rae's beauty look.

"Her sleek topknot and glowing skin are the perfect combo. Her hair was elegantly pulled away to showcase high shine skin. It sparkles," she said. "I need to know what’s making it glow so much!"

Gabrielle Union wore another knockout, a strong silver embellished look from Carolina Herrera that offered an armor vibe.

"I am feeling myself," Union said.

VANESSA HUDGENS DEBUTS BUMP IN VERA WANG Vanessa Hudgens brought along one special accessory. She revealed her baby bump under a body-hugging Vera Wang turtleneck gown in black as she hosted ABC's pre-show coverage.

Among the risk-takers? Charlotte Kemp Muhl, who walked with Sean Ono Lennon in a backless and near sideless black dress.

Daniel Scheinert of the Daniels wore a Fashion Brand Company jacket adorned with a snake. It's a buzzy brand worn by a lot of comedians, including SNL’s Sarah Sherman.

Jodi Kahn, Neiman Marcus' vice president of luxury fashion, saw plenty for her customers on the red carpet.

"We saw a lot of black, beautifully on Sandra Hüller in Schiaparelli as well as Danielle Brooks in Dolce & Gabbana, Jennifer Lawrence in Dior and Margot Robbie in Versace," she said. "While we usually see lots of bold color on the red carpet it’s striking to see all of the beautiful black, elegant gowns."

She included Eilish in that group.

"In Chanel, Billie took a modern approach to ladylike style, which will easily inspire long, lean skirts and jackets into our customers wardrobes. Black will always be fashion's favorite color."

A BIT OF TROUSER FLARE FOR THE MEN Jonathan Evans, style director for Esquire, said you had to look closely to see one of the biggest red carpet trends.

"Even though they kept it relatively classic otherwise, a surprising number of guys opted for flared trousers this year. Simu Liu, Bradley Cooper and Colman Domingo all embraced a little extra room around the ankle, and it looked great," he said.

EJ Briones, executive fashion editor for Bustle, saw another strong trend.

"Embellished corsets dominated the red carpet with looks from Hailee Steinfeld in Elie Saab Couture, Florence Pugh in Del Core and Danielle Brooks in custom Dolce & Gabbana. The heavy detail of the bodice against the softness created a beautiful juxtaposition," he said.

Among the men who opted out of black was Taylor Zakhar Perez in powder blue. Liu of "Barbie" brought the Kenergy. He rocked a black Fendi look with a wrap-around jacket closed with a brooch.

"It's a fun situation, and I like brooches," he said.



Elie Saab Unveils Luxurious Safari Chic Spring Collection in Paris

 Models wear creations as part of the Elie Saab Spring/Summer 2025 collection presented Saturday, Sept. 28, 2024, in Paris. (AP)
Models wear creations as part of the Elie Saab Spring/Summer 2025 collection presented Saturday, Sept. 28, 2024, in Paris. (AP)
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Elie Saab Unveils Luxurious Safari Chic Spring Collection in Paris

 Models wear creations as part of the Elie Saab Spring/Summer 2025 collection presented Saturday, Sept. 28, 2024, in Paris. (AP)
Models wear creations as part of the Elie Saab Spring/Summer 2025 collection presented Saturday, Sept. 28, 2024, in Paris. (AP)

Lebanese designer Elie Saab unveiled his spring collection on Saturday at Paris’ Palais de Tokyo, elevating the concept of safari chic to luxurious while keeping the camp firmly in check.

Here are some highlights of Saturday's ready-to-wear collections:

Elie Saab takes us on a sultry journey

Saab’s collection blew away any expectations of colonial nostalgia, just like the harmattan gusts he drew inspiration from. Instead, what we got was a mesmerizing journey through the African savannah that felt fresh, vibrant, and completely devoid of tired clichés. This was no ordinary safari chic—Saab took the concept and injected it with his signature luxury, letting it roar in all the right ways while keeping the camp firmly in check.

Right from the start, Saab showed he wasn’t afraid to play with the safari staples—but with a twist. Safari suits, reimagined as roomy linen separates and sleek crepe jumpsuits, traded their usual khaki for the blazing red of fireball lilies, moody elephant gray, and the ochre dust of West Africa. It was a palette that brought the raw, natural beauty of the continent to life without falling into the predictable tropes. These looks weren’t the romanticized garb of the intrepid explorer; they were effortlessly chic, perfectly fitted for today’s cosmopolitan adventurer.

Then came the raffia—oh, the raffia! Saab worked magic with this plant fiber, weaving it into low-slung skirts and minidresses with faint bubble hems that felt light and breezy, yet utterly luxurious. It also made an appearance as fern embroideries on floor-grazing tulle gowns, adding texture and depth that felt delightfully organic. It was these delicate, thoughtful touches that took this collection beyond just a thematic exercise and elevated it to something exquisite.

Hermes’ gentle geometry

Vanhee-Cybulski’s Hermes collection reimagined spring with a palette of warm golden beiges and earthy autumnal hues, a bold choice that immediately set the collection apart. Gentle geometry shaped the garments — myriad squares and architectural forms that fused seamlessly with Hermes signature minimalism. This interplay was reinforced by the striking wooden backdrop, enhancing the atmosphere of sophisticated restraint.

Vanhee-Cybulski leaned into a refined sensuality with sheer mesh trousers that transformed at a flick of a zip and featherweight leather jackets that seemed almost ethereal. These pieces paired athletic ease with luxury, demonstrating her skill in blending delicacy with bold, structured shapes. Utilitarian details, like buckled belts and boxy, pocket-laden shirts, underscored the collection’s grounding in practicality, even amid its more daring expressions of sensuality.

Throughout, Vanhee-Cybulski captured the lightness that spring calls for—luxurious reinterpretations of Hermes’ iconic silk scarves, transformed into breezy shirtdresses and rompers, embodied a carefree spirit ready for sunlit escapes. Warm neutrals dominated, echoing a feeling of being sun-soaked, while her activewear-inspired pieces conveyed a relaxed, summer-ready attitude without compromising on elegance.

The footwear, always a standout for Hermes, carried this ethos further. Sleek riding boots offered a solid foundation to the collection’s grounded luxury, while clog sandals brought a playful, modern twist.

Westwood's controlled chaos

Vivienne Westwood’s spirit lived on in Paris this season, as Andreas Kronthaler brought a masterful interplay of rebellion, history, and glam rock energy to the runway. The spring collection opened with sparkling pants paired with a silky blue bodice, a nod to the late designer’s love of bold, unexpected contrasts—a brilliant start that practically screamed rock ‘n’ roll chic. Kronthaler clearly hasn’t lost his taste for the dramatic, diving headfirst into the kind of fierce, confrontational style that made Westwood an icon.

A giant silver chain, dangling almost absurdly to the model’s knees, set the tone: a clear statement of raw, unapologetic power, in course with the punk ethos of the 80s that still courses through this house’s veins. And there, of course, were the signature Westwood suits and Grecian-style draped dresses—classic shapes that carried a dynamic energy and timeless rebellion, reminiscent of the archival references that have defined Kronthaler’s tenure. These silhouettes bore the same sense of timeless radicalism seen in Kronthaler’s reinterpretations of Westwood’s personal wardrobe last fall, where each garment seemed to transcend fleeting trends.

Clashing checks—a staple of the Westwood lexicon—made their mark, giving the collection an urban, gritty edge that felt distinctly true to the house’s rebellious spirit.

Whimsy had its moment in the shape of a giant tulle headpiece, soaring high and embodying an ’80s bridal punk vision—a dizzying height of contradiction that no one but Westwood’s house could make look so irreverently sophisticated. This playful chaos echoed past seasons, where Kronthaler has embraced an eclectic mishmash of themes—from historical doublets to modern macramé cloaks. This time, however, there was a sense of restraint. It was a more controlled affair, one that saw Kronthaler tightening his narrative, perhaps reflecting a shift toward emotional homage rather than spectacle alone.