Fashion took centre stage at the Oscars 2026
There are red carpets, and then there is the Oscars red carpet, a palimpsest on which Hollywood writes and rewrites its sartorial myths. This year's 98th Academy Awards at the Dolby Theatre felt like fashion returning to its maximalist memory: the kind that knows the exact weight of a crystal, the precise spring of an ostrich plume and the perfect grammar of a glove. Feathers flew, florals bloomed, and couture ateliers proved there's still room for surprise when the stakes are highest. Demi Moore's plumes floated like a stage direction in motion; Jessie Buckley's colour play was the night's neatest thesis on old‑Hollywood discipline and modern verve; Anne Hathaway reminded everyone why a single silhouette, styled with rigour, can change the temperature of a room.

In this Academy Awards, red‑carpet style felt deliberate and expressive
Photo Credit: Road To Oscars
Menswear, so often a polite footnote, stepped forward with intent, brooches pinned like medals, starched shirts softened with romance, and lapels drawn as dramatically as eyeliner. Elsewhere, the evening's unofficial mood-board toggled between the sculptural and the soft: architectural necklines, nipped waists and sweeping trains balanced by gauzy skirts and painterly prints. In a season of talk about records and returns, Sinners smashing nomination tallies, Buckley's triumphant run culminating on the Kodak‑gold carpet, the clothes matched the moment's scale.
Also Read: A Week With Insight Garden of Love Palette: Texture, Wear And Real-Life Results Revealed
Below, eight looks that captured the language of the night, each a lesson in how star power and seamwork make fashion history.
It took Hathaway all of two steps to turn “florals for spring” into a high‑glam rejoinder. In strapless Valentino haute couture, black ground strewn with soft champagne‑to‑pink blossoms, she cut a trumpet line that cinched at the waist with a bold belt, then poured into a mermaid train. The black opera gloves were not accessory but attitude; and the Bulgari diamonds, chandelier earrings framing a gleaming necklace, delivered the immaculate punctuation. Presenting or not, this was a queen‑maker of a look, arguably the night's most polished homage to Old Hollywood with a contemporary wink.
What made it sing wasn't merely the floral print; it was proportion. The bodice held, the skirt moved, and the gloves sharpened the silhouette like kohl on a cat eye. Valentino may own the dress, but Hathaway owned the moment.
Buckley's custom Chanel was a masterclass in poised drama: a sculpted, ruched, off‑the‑shoulder red bodice segueing into a ballet‑slipper pink skirt that pooled with deliberate softness. The two‑tone palette did the talking; the fit‑and‑flare line did the walking. Jewels, white‑gold and diamond high jewellery from the house, whispered rather than shouted. The effect was Grace Kelly by way of 2026: timeless, but tuned to the present.
Across the night, commentators clocked the nods to mid‑century refinery; Buckley's colour‑blocking put her squarely in that conversation while maintaining her minimalist, theatre‑honed authority on the carpet.
The red carpet loves a reference, and Milo Manheim served one with swagger. A black tailcoat, cut lean, with the poise of a Victorian evening coat, met a grey shirt, bow tie and cummerbund, then lifted with precise accessories: twin brooches, dark shades, a quiet watch. It read like costume history filtered through a pop‑idol lens: the silhouette dignified, the styling deliberately now.
Even broad‑stroke galleries singled out the long coat and cool, louche attitude, proof that when menswear borrows from period dress, the trick is to keep the line strict and the finish easy.
Moore arrived and the carpet breathed differently. In custom Gucci, her strapless column was entirely worked in a degrade of iridescent black and emerald feathers, spiking at the neckline and cascading into a train that moved like the flick of a fan. Boucheron jewellery, clean, cool, emphatic, kept the mood opulent without clutter. In a night where plumes were a bona fide trend, Moore's interpretation felt both noir and luminous, a couture aviary distilled into a single, unforgettable exit.
In a season bristling with embellishment, Condon chose architecture. Her Armani Prive gown took the house's favoured formula, beaded bustier, deep V, and sharpened it into an editorial study in plunge and proportion. The crystal‑trimmed structure framed the neckline with exacting geometry before dissolving into a clean black column. Edited hair, minimal jewellery, neutral makeup: everything worked in service of the line.
Seen up close on the arrivals shot, the disciplined contrast, light‑catching bodice against matte skirt, proved why this shape photographs like a dream from the waist up, yet commands every full‑length frame.
There's tailoring, and then there's tailoring that announces itself. Pope's suit did the latter: lapels drawn with theatrical intent, shoulders dialled just so, the waist suppressed to a portrait‑ready V. The lesson? Menswear doesn't need rhinestones to be cinematic, just focus, finish and a lapel that doubles as a headline.
Trust Rios to make the least "tuxedo" element the most compelling. A Saint Laurent‑leaning gesture, jacket optional, striped shirt, striped tie, impeccably tailored black trouser, felt insouciant but deliberate, the way Saint Laurent men do when they mean business by pretending not to. It was pattern play with restraint, the stripes elongating the torso and lending a louche, Left Bank energy to Oscar night formality.
Spanish outlets and red‑carpet arbiters alike noted his cool deviation from the rulebook; this is what “new formal” looks like: a shirt that leads, and a suit that follows.
Call it the year the slit re‑staked its claim. Whether glimpsed on the night's party circuit or across recent carpets, Lili's leg‑baring bravado captured a broader Oscars‑week mood: the strategic reveal as a study in control rather than provocation. A soaring side split, handled with poise, becomes pure line, lengthening, light‑catching, and, in the flash of a camera, pure theatre. And 2026's run of slits, seen on more than one A‑lister, suggested the detail is back on the A‑list of red‑carpet finishing moves.
1. What are the Oscars?
The Oscars are annual awards that honour the best work in films and filmmaking.
2. Where did the Oscars 2026 take place?
The Oscars 2026 were held at the Dolby Theatre in Hollywood, Los Angeles.
3. Which Academy Awards ceremony was this?
The 2026 event marked the 98th Academy Awards.
4. Why is the Oscars red carpet so widely followed?
Because, it showcases some of the most influential fashion moments seen by a global audience.
5. Who attends the Oscars ceremony?
The ceremony is attended by actors, filmmakers, and industry professionals from around the world.