Last night (January 11, 2026), the Golden Globes red carpet leaned hard into high-drama black,
naked dressing done with precision, and couture-level craftsmanship.
Jennifer Lopez in vintage Jean-Louis Scherrer Haute Couture
(2003)
Lopez went full archival bombshell in a sheer, nude-toned mermaid gown from Jean-Louis Scherrer
Haute Couture 2003, built from hundreds of yards of silk tulle and finished with lace and stonenembellishment that read like couture trompe-l’œil under flash photography. Multiple outlets noted the styling leaned luxe and minimal, letting the construction do the talking, with statement jewelry (including reports of Sabyasachi jewels) and classic glam. There was also a very J.Lo twist: she revealed the vintage Scherrer look was from her own closet, a rare “personal archive” flex in an era of loaned couture.
Jenna Ortega in Dilara Fındıkoğlu
Ortega’s look was black, sharp, and performative: a marching-band–inspired Dilara Fındıkoğlu moment with fringe epaulettes, a high neck, and dramatic side cutouts that turned negative space into the main event. Fashion coverage clocked how deliberately the outfit “played character” (structured, slightly militant, very Wednesday-adjacent) while also tapping into the low-waist redcarpet silhouette that’s creeping back into formalwear.
Miley Cyrus in Saint Laurent (Anthony Vaccarello)
Cyrus delivered a masterclass in don’t-overthink-it glamour: a plunging black sequin Saint Laurent gown (Vaccarello doing what he does best: sleek, midnight, razor-clean), then punctured the classicness with unexpected sunglasses for a jolt of rock-star disinterest. The neckline was a major talking point across coverage, and the styling kept the focus on line, shine, and attitude. Undeniable proof that a “simple” black dress is never actually simple when the cut is ruthless.
LISA in Jacquemus (with Bulgari)
LISA’s Globes look doubled as a trend report: naked dressing, but sharpened with Jacquemus Spring/Summer 2026 proportions: sheer elements up top, a more grounded skirt below, plus capelike/tasseled sleeves that moved beautifully on camera. Beauty coverage emphasized the overall “dark and edgy” direction (including her new brunette hair), keeping the vibe moody rather than coquettish. On jewellery multiple sources spotlighted her Bulgari Serpenti-style necklace, a rare red carpet move because it’s a specific icon, not just “diamonds.”
Selena Gomez in custom Chanel (323 hours of work)
If anyone “did” Old Hollywood without costume-y nostalgia, it was Gomez. She wore a custom black velvet Chanel bustier gown, engineered like a classic screen-siren dress. Then elevated with couture-level surface work: over 200 feather/organza/silk-chiffon floral elements (white, textural, and slightly surreal up close). The key PR-style detail that made the rounds: the gown took 323 hours in the atelier. It’s the kind of number brands love to share because it turns beauty into labor you can measure.
Amelia Gray in custom Swarovski (by Giovanna Battaglia
Engelbert)
Amelia Gray’s red-carpet appearance was a crystal-house statement: custom Swarovski, with multiple fashion roundups explicitly attributing the look to Giovanna Battaglia Engelbert. Swarovski has been visibly pushing fashion-facing, high-glam narratives (not just “accessory sparkle”), and this look landed like a brand thesis on a live global broadcast: maximum shine, built for flashbulbs and wide shots.
Teyana Taylor in custom Schiaparelli Haute Couture
Taylor went for couture with a plot twist. In custom Schiaparelli Haute Couture, the gown sculpted the body with strategic draping and cutouts. Then delivered the headline detail: a crystal “whale tail” moment at the back (yes, that kind of whale tail), executed as jewelry-level sparkle rather than pure provocation. Several write-ups framed it as an “expensive” take on the cheeky trend. Schiaparelli doing subversion the way Schiaparelli does: surreal, sharp, and engineered.
Words by Fabianna Gutiterreza
