By Gabriela Afanador
Monday 16, March 2026
The 98th Academy Awards on March 15, 2026 played out like two different fashion worlds sharing one calendar night. The red carpet at the Dolby Theatre leaned into ceremony dressing with a distinctly classic mood, then the after parties released everything into shine, skin, and sharper styling. You could feel the shift not only in hemlines and necklines, but in the temperature of the fabrics. The ceremony favored structure and polish. The parties favored movement, metal, and a more playful sense of risk.
At the Oscars arrivals, pale tones were everywhere and they set a unified tone before any single look had time to dominate. Ivory, off white, cream, blush, and soft pastels turned the carpet into something almost bridal, not in a literal lace way, but in the sense of formality and glow. The most effective looks used that light palette as a canvas for construction. You saw clean bodices, deliberate seams, and surfaces that carried the glamour without needing excess volume.
Louis Vuitton had one of the most visible presences of the night and the brand’s approach was consistent. modern silhouettes with controlled sparkle and a clean sense of line. Emma Stone arrived in custom Louis Vuitton in a pale shimmering gown that looked softly reflective under flash photography, supported by minimal styling so the finish could read clearly. Zendaya appeared in a custom Louis Vuitton gown in chocolate brown with an asymmetric halter line, a darker counterpoint to the sea of ivory that still felt classic because the cut stayed disciplined. Chase Infiniti wore custom Louis Vuitton in a gentle lavender tone with a fitted bodice and ruffled movement through the skirt, a debut style moment that read romantic without drifting into costume. The house also delivered stronger color punctuation through other attendees, including jewel toned and high contrast moments that broke the pastel rhythm without disrupting the overall elegance.
Chanel’s red carpet presence leaned into texture and film history energy. Jessie Buckley wore custom Chanel in a pink gown with a structured bustier line, then sharpened the look with a contrasting stole that changed the silhouette’s mood without changing the dress itself. Teyana Taylor wore a black and white custom Chanel design with a semi sheer bodice and a feathered skirt that made texture the headline, proving how powerful Chanel becomes when it commits to movement and contrast. Nicole Kidman also wore Chanel and stayed in the softer lane, bringing feathers back as a finishing detail rather than a full concept. The Chanel looks shared one clear idea. glamour did not come from loud embellishment, it came from craft and surface.
Givenchy and Armani Privé delivered the most traditional big event silhouettes of the night, the kind of gowns that speak fluently in Oscars language. Timothée Chalamet wore custom Givenchy in an all white look that felt futuristic yet formal, especially next to the more conventional tuxedo field. Elle Fanning wore custom Givenchy in a strapless white ballgown with silver detailing that reinforced the ceremony palette and delivered a pure red carpet shape. Gwyneth Paltrow returned to the Oscars in custom Armani Privé with a strapless ivory gown that stayed clean through the body, then used sheer placement and jewelry to add dimension. Kate Hudson wore custom Armani Privé in a mint toned gown with heavy embellishment and a sculpted mermaid line, a look built for maximum light reaction in photographs. Rose Byrne arrived in Dior with couture level refinement and a controlled silhouette that kept the look elegant even when the detailing was intricate. Anne Hathaway wore Valentino couture and brought the kind of full fashion house drama that still felt ceremonial, not theatrical.
Across the carpet, texture became one of the strongest through lines. Feathers appeared repeatedly, sometimes as trims, sometimes as full skirt volume, sometimes as accents that moved with every step. Florals also surfaced, not only as prints but as three dimensional details and embroidery that added depth to otherwise clean shapes. The overall message felt clear. Even when the palette stayed pale, the clothes were not quiet. They were built to be looked at closely.
Menswear in 2026 was defined less by breaking black tie and more by relocating where the statement lived. Brooches became the dominant accessory. Pedro Pascal wore Chanel and treated the brooch as the main event, skipping a standard tuxedo jacket and letting the chest detail carry the look. Jacob Elordi wore sharply tailored Bottega Veneta and made structure the headline through a long line jacket and layered vest. Michael B Jordan wore custom Louis Vuitton and pushed formalwear toward a more architectural direction through collar and front closure choices. Shaboozey wore Campillo and made a case for younger labels on a night that usually rewards legacy houses, with styling details like brooches and pearls bringing personality into the frame. Instead of identical tuxedos, the men looked like they were dressing with intention.
Then the night changed. The Vanity Fair party at LACMA turned the fashion dial toward shine, transparency, and modern provocation. The single most visible shift was liquid metal dressing, especially in gold. Kim Kardashian arrived in a custom gold Gucci gown with a molten effect that became one of the night’s most circulated looks, amplified by icy blue contact lenses and towering platform heels. The dress read like liquid gold under camera flash, which is exactly why it dominated the after party mood.
Cool tones also became a defining after party counterpoint. Kendall Jenner wore a custom Chanel gown in sky blue with sequins and floral embroidery placed at the chest and waist, a modern Cinderella direction that felt structured rather than sugary. Kylie Jenner arrived in a black beaded Alexander McQueen dress that leaned into darker glamour, proving the after party room had space for both glacial color and deep noir.
The Elton John AIDS Foundation party delivered some of the boldest fashion risk of the night. Dua Lipa wore Gucci in a dramatic shredded blue gown with a low neckline and open back, then later changed into Schiaparelli couture for Vanity Fair with a black velvet bodice and gold fringe that swung with movement. That quick change captured the night’s overall fashion logic. Ceremony looks were built for reverence. Party looks were built for impact.
What made Oscars 2026 feel especially coherent was the clear progression. The ceremony leaned into classic silhouettes, pale palettes, and craftsmanship that photographed like old Hollywood. The after parties leaned into metal shine, sharper styling, and more experimental energy. The best dressed attendees understood both languages. They arrived in looks that respected the moment, then changed into looks that owned the room.