Was that a shoe on Ariana Grande’s back? And other Oscars fashion moments you might have missed

It’s ironic that in a year when Anora (a wildly explicit, mordant comedy about a sex worker) swept the board at the Academy Awards that the overriding theme of red carpet dressing should be so demure.

Old Hollywood silhouettes in pale icy hues of silver and sugar pink ruled the night. The blazing, brilliant young star Mikey Madison, who took home a statuette for her ride-or-die performance as the titular “Ani”/Anora, is a courageous actress who could chosen to wear anything on the red carpet, but she played it safe in a reproduction of a 1956 Dior Couture gown and a princess-like up-do.

If there was a touch of Audrey Hepburn about her look, perhaps it was deliberate. After all, you could make a case for Anora being the Holly Golightly of our unsettling times.

Fittingly, it was left to the stars of Wicked (a deserved winner for best costumes) to provide some red carpet entertainment.

Ariana Grande in a Schiaparelli sculptural confection and Cynthia Erivo in gravity-defying deep emerald velvet courtesy of Louis Vuitton have flown the flag for the joy of fashion throughout the awards season campaign.

Indeed, Grande’s astonishing ruby slipper dress for the pair’s on-stage number was perhaps the most memorable look of the night.

Credit: Clip Courtesy A.M.P.A.S. 2025

The statement back is back

Sometimes a statement back can be the most subtly sexy and provocative statement of all. Margaret Qualley’s choice of a plunging back, black velvet dress, designed by Chanel – all the better for showing off the diamond lariat necklace which dripped down her spine – had an easy, insouciant glamour about it.

Red carpet diplomacy points should also be awarded here – going for a more full-on look or spangles might have stolen some of the spotlight from her The Substance co-star Demi Moore, who was widely expected to win in the Best Actress category.

Meanwhile, the hidden ruby slipper built into the bodice of Grande’s surrealistic Schiaparelli dress (worn for her and Erivo’s goosebump-raising rendition of Somewhere Over the Rainbow which opened the awards) was a tour de force of design and subtle fashion messaging.

The deep ruby-red hue of the gown suited Grande to a tee, while that pointed shoe at the back of her neck felt like a kick back at her detractors. Grande and Erivo’s performance was an explicit love letter to the resilience of Los Angeles after the wildfires. Erivo’s dress, the closing look from Vivienne Westwood’s Spring/Summer 1997 runway collection, featured bold floral appliqués tumbling down the back, symbolising “the idea of being blinded by love” (according Erivo’s stylist Jason Bolden on Instagram).

If in doubt, add a bow

Bows of all shapes and sizes adorned gowns at the Oscars this year, and it’s easy to see why: it’s a detail that has the capacity to transform a relatively classic look into something demure, or even whimsical.

Witness Madison in Dior, Felicity Jones in sleek, silver Giorgio Armani Privé, Lupita Nyong’o in Chanel, and Elle Fanning offering an early glimpse of Givenchy’s Sarah Burton era.

Another highlight was singer-songwriter Brandi Carlile’s polka-dot Valentino suit, with a floppy scarlet bow.

The boldest take on the theme came courtesy of The Brutalist’s Raffey Cassidy, whose oyster-hued Loewe gown featured an oversized bow at one shoulder.

It’s one of those rare red carpet trends that can transcend into real life, too – pin a bow brooch to your collar, waist, handbag… The only limit with this versatile accessory is your imagination.

A lighter shade of pink

Continuing the demure, sweet theme was the prevalence of pale pink on the red carpet, which would have looked a bit saccharine, had it not been so icy pale.

Instead, it was presented as a new neutral that any of us could embrace. Monica Barbaro led the charge in custom Christian Dior, a look reminiscent of Gwyneth Paltrow’s pink Ralph Lauren gown from 1999.

Selena Gomez sparkled in a beaded Ralph Lauren gown, inspired by Sophia Loren, while Grande continued her “Glinda-core” streak in Schiaparelli.

There were deeper shades of pink too (see Madison, above) which were just as pretty, but it’s that ultra-pale shade that’s really going to take hold this spring.

Silver beats gold

The Oscars statuette may be gold-plated, but silver was the metallic shade of choice on the red carpet. Best Actress nominee Moore led the way in a crystal embroidered Giorgio Armani Privé gown, which featured a plunging neckline – another win for midlife stars embracing the return of cleavage on the red carpet – and sculptural pleated hip detailing.

Next to nod to the timeless glamour of the silver screen with a Giorgio Armani Privé moment was Jones, who looked radiant in liquid silver.

But perhaps the most overt advocate was Halle Berry, whose mirror ball-like Christian Siriano gown was almost entirely covered in reflective shards of silver.

Another embellished triumph came courtesy of Emma Stone in a scoop-neck Louis Vuitton gown made from silver metallic discs.

The Golden Age of Hollywood, at least sartorially speaking, appears to be over.

Velvet is not just for Christmas

Now that a glimmer of spring has arrived, the urge for festive dressing feels but a distant memory – not so on the Oscars red carpet, where velvet was a key fabric of the night.

A most compelling case for embracing it came from Isabella Rossellini, who donned a blue velvet Dolce & Gabbana dress that served as a tribute to the late director David Lynch (Rossellini’s breakthrough role was in his 1986 film, Blue Velvet).

Scarlett Johansson also turned to the decadence of velvet for the biggest night in film, wearing a deep navy Mugler gown with a plunging cowl neckline, accessorised with matching opera gloves and glittering De Beers diamonds.

Blue was not the only option; Meg Ryan looked sensational in a strapless red velvet gown that featured a floating bodice, while Georgina Chapman stuck with classic black in a sculptural custom Marchesa dress.

Don’t retire those wintery velvet pieces to the back of the wardrobe just yet.

Men’s tailoring with a twist

Lemon sorbet, mocha mousse, tomato, mushroom and sage; Hollywood might be on Ozempic, but the spoils of the larder informed the shades of suiting at this year’s Oscars, from Timothée Chalamet in the aforementioned sunny tones from Givenchy to Andrew Garfield in deliciously chocolatey Gucci.

It wasn’t a vintage year for debonair dressing on the part of the men; less peacocking – always pleasing to watch – and more polite black tie. There’s nothing wrong with that, especially for the older gents, but it can look rather identikit and blank. Although there were efforts to add a hint of personality via a lapel pin, which seems to be the new statement watch; Adrien Brody in a fantastical emerald-studded pin and Robert Downey Jr in Tiffany.

We just add a special mention to the ever-joyous Jeff Goldblum in classic black tie with an injection of whimsy via his lilac evening scarf and bold shirt, and to Brit boy Joe Locke who wore white tie with an energetic Gen Z twist; Fred Astaire-style tails but with a sleek sequinned waistcoat courtesy of Celine.

All eyes on eyeliner

Is there anything more classically Hollywood than a slick of red lipstick? Perhaps not, but the best supporting act and unsung hero of the 2025 Oscars red carpet, at least in the make-up stakes, was the humble black eyeliner.

Best Actress winner Madison has made a softly smudged line of kohl part of her statement look this awards run, while Moore, Gomez and Fanning all employed the use of liner to varying degrees of thickness.

It’s nothing new: back in the Fifties Rita Hayworth and Marilyn Monroe knew the striking power of liner, and it still remains the most universally flattering way to frame the eyes. The only difference now? There are some fantastic waterproof versions should a teary Oscars acceptance speech be required.