The Best And Worst Dressed At The Academy Museum Gala

Hollywood has every designer in the world at its disposal. So why does getting dressed sometimes look so complicated? At the 2026 Academy Museum Gala in Los Angeles, the strongest looks embraced the pleasures of dressing up: beautiful color, flattering proportions, and a little fantasy. The misses piled on transparent fabric , awkward shapes, or so many competing details that the woman wearing the dress got lost. Here are Evie’s picks. Best dressed Taylor Swift in Dior Taylor’s custom pale-blue Dior gown by Jonathan Anderson was a welcome dose of romance. Pleated silk, a strapless neckline, and an embroidered bow gave the look a Cinderella quality, while Chopard diamonds supplied the finishing sparkle. This is the kind of red-carpet fantasy we want: unabashedly feminine and special enough to justify the occasion. The softness of the blue was particularly lovely. A clear best-dressed pick. Emily Ratajkowski in Burc Akyol Emily wore a scarlet Burc Akyol gown, pairing a plunging neckline with a fitted, floor-length silhouette. The appeal was straightforward: gorgeous color and a shape that flattered her. Yes, it was revealing. But the continuous sweep of red gave the look a coherence that the evening’s more complicated exposed-underwear ensembles lacked. This was bombshell dressing with a point of view. Jessica Biel in Tamara Ralph Jessica’s black velvet Tamara Ralph gown, topped with a dramatic feathered cape, made a strong case for texture. Velvet brings richness; feathers bring movement and a little theatricality. Together, they gave her look presence without relying on transparency. This was a grown-up evening gown with enough personality to keep it interesting. Eiza González in Ralph Lauren Eiza’s ivory satin Ralph Lauren gown was one of the evening’s most beautiful looks. The fluid fabric and sweeping drape gave it movement, while the clean silhouette kept the effect elegant. This was sensuality done beautifully. The dress followed her figure, and the luminous ivory made the most of the satin. She looked like a movie star from an era when that description meant something. Hailey Bieber in Chanel Hailey’s custom bubblegum-pink Chanel gown by Matthieu Blazy brought a welcome burst of femininity to the carpet. The sleek column silhouette balanced the sweetness of the color, with beaded detailing adding interest. Pink can be playful and sophisticated at the same time, and this was a lovely example. The shape was streamlined, the color was pretty, and the overall effect felt youthful without becoming juvenile. Mia Goth in Dior Mia’s custom black satin Dior gown paired a fluid silhouette with shimmering trim and a dramatic bow at the waist. The bow gave the dress a romantic focal point, while the black satin kept it moody enough to suit her. It was an appealing reminder that feminine dressing has room for darkness and individuality. She looked elegant without looking like she had borrowed someone else’s personality for the evening. Worst dressed Rosé in Saint Laurent Rosé’s Saint Laurent look paired an enormous bow with a sheer skirt and a visible bodysuit. The bow promised a romantic evening gown. The bottom half delivered another variation on underwear beneath transparent fabric. The combination left the look feeling unresolved, and the familiar sheer-skirt device did little to make it memorable. We would have loved to see that dramatic bow paired with a beautifully finished, opaque skirt. Charlize Theron in Tom Ford Charlize’s black Tom Ford gown combined lace, beading, crystals, transparent sections, and a slim belt. There was craftsmanship here, but too many elements competed for attention. The exposed panels interrupted the silhouette, while the belt added another visual break. Charlize has the presence to make a simpler gown spectacular; this one made the eye work too hard. Naomi Ackie in Balenciaga Naomi’s strapless purple Balenciaga gown swallowed her in tiers of fabric. The color had potential, but the oversized silhouette buried her waist and left the dress doing all the wearing. There’s volume, and then there’s looking as though you’ve been wrapped in a very expensive duvet. This crossed that line. A dramatic gown should make an entrance; it shouldn’t make its wearer disappear.