The 98th Oscars dressed for a cultural moment — not just a ceremony.
Every year, the Academy Awards outfits become a mirror to cinema’s biggest night and culture itself. At the 98th Oscars, held on March 15, 2026, at the Dolby Theatre in Hollywood, that reflection had one clear mood: romanticism.
As The Zoe Report noted, “silks and satins, soft color hues, and ladylike accents like lace, delicate floral prints, and bows” had already taken hold of fashion heading into 2026. The Oscars red carpet followed suit.
Emma Stone, in custom Louis Vuitton by stylist Petra Flannery, wore a cascade of pearlescent beads — which, according to WWD, required over 600 hours of handwork to complete. A princess-cut top, cap sleeves and a plunging sexy back that turned the romantic silhouette on its head.
The color, cut, and hair: all of it was exact. The public agreed — her stylist loves her, and it shows.
Odessa A’zion, the Marty Supreme star, stated that she doesn’t have a stylist, she does her own hair and make up. And she still manages to be one of the most relevant looks on the carpet.
A crystal-encrusted couture robe over bootcut pants, a thin black tie, fringe at the hem. Chic, boho rock, completely her own.
Beca Michie arrived in a vintage 2005 Georges Chakra couture gown with embroidered lace, fluid silk skirt, trailing hem. She looked phenomenal.
But her presence sparked a conversation that had nothing to do with her dress. Her appearance on the carpet renewed debate about social media influencers getting access to Hollywood’s most exclusive spaces.
Turns out, there is a growing trend in democratizing Hollywood and fashion worlds, and mixing them both.
Laura Lufesi attracted anything but bad reviews — many comparing her to a pineapple. The culprit: a color palette that worked against her complexion rather than with it.
In a year when colorimeter was the secret weapon of the night’s best looks, getting it wrong was costly.
Renate Reinsve wore a strapless red Louis Vuitton gown with an exaggerated side slit. The construction was strong, but the overall effect was not.
Red already demands full attention, and the high slit reads as excess rather than intention based on public opinions. The absence of jewelry made it worse, stripping the look of the polish of a classic red dress.
Gweyneth Paltrow showed up in a custom ivory Armani Prive gown that was polished from the front and fully transparent from the side. She was sewn into it and said she felt hot.
Although mostly loved, reviews said that the dress was inappropriate and not flattering for her age.
A woman in her fifties declaring herself hot in pronounced dresses — as we saw with Kate Moss in Gucci — still provokes discomfort.
Michael B. Jordan, now a Best Actor winner for “Sinners”, arrived in a custom all-black Louis Vuitton suit with a Mandarin collar, silver waist chain, and a David Yurman diamond brooch — but this wasn’t accidental.
According to Essence, costume designer Ruth E. Carter confirmed that his character Stack’s watch chain was “custom-made by David Yurman using one of their vintage links.” Jordan wore the same jeweler on the carpet.
Timothee Chalament arrived in a white custom suit – clean, tailored, all-white from head to toe. The intention was clear: understated elegance with a modern edge
One has to wonder if the color was strategic — after weeks of online backlash over his comments about ballet and opera being irrelevant, white reads like a blank slate. Innocent, even.
Perhaps that is why romanticism resonates so deeply right now. Feathers, satin, and lace are not escapism — they are a response. When the political moment demands restraint and conformity, fashion reaches for softness, volume, and feeling.
The best looks of the night understood that.