Award show red carpets are an opportunity for stars to show some creative and sometimes political flair - here Olivia Colman supports the Equal Representation for Actresses campaign, that hopes to achieve gender equality in British acting by 2020. Twitter/evanrosskatz

The 2020 Golden Globes have kicked off the new decade of award ceremonies in typically atypical style - there were some surprise wins, and Netflix had a bad night in spite of a bumper crop of 34 nominations. All this while Ricky Gervais proved that when it comes to hosting, practice doesn’t always make perfect.

But despite what’s being hailed as a slightly off-beat evening, the red carpet was a triumphant parade of glamour, and so here are Vulture’s favourite looks from the night.



This year’s offerings felt particularly monochrome - from Reese Witherspoon’s flowing white, to Jennifer Aniston’s classic black - but it Zoey Deutch’s neon yellow that was the standout for me. The perfectly placed folds of heavy fabric, the statement bishop sleeves, the dramatic neckline, the ever-so vibrant hue. Every element of the look is set perfectly - the jolt of the blue stone in the necklace, right down to the neat and conspicuous line of buttons down the back. There is no angle from which this doesn’t look good, and there is something almost statuesque and sculptural about it. Paired with the stripped back makeup and slicked back bob, this is how to make a statement on the red carpet.



Truly so iconic that it was trending on Twitter within minutes. This dress from Céline is a masterpiece. It’s slinky, it’s sexy, it’s brimming with class, and most wonderfully it’s amazingly simple. There’s something a little bit Bob Mackie in its beautiful draping and sheer glittering glam, and yet its sultriness couldn’t be further from any of his eccentric designs, bringing in a little bit of effortless mid-90s Kate Moss. It’s a show-piece, but not one that even needs to show itself off.



It’s impossible to go wrong with a little 90s Chanel moment, but don’t think for a moment that this is anything other than a brief aesthetic homage to those legendary tweed jackets. Designers Ralph & Russo aren’t resting on a tried-and-tested formula, but rather shaking it up, and improving it. Embellished beyond belief and with the dramatic neckline, this is the suit that demands your attention, and you’re pleased that it has. With the amazingly coiffed softboi curls that even Timothee Chalamet would be jealous of, we’re somewhere on an androgynous, gender-bending 1930s journey, and I love it. And a suit and stilettos? A perfect power-dressing move. Waller-Bridge is even auctioning off her outfit and donating the profits to help fight the Australian bushfires. The fashion icon we don’t deserve? Quite possibly.



Playfulness meets stately class as Armani mocks the double breasted suit in sumptuous velvet. This is another look that thrives on simplicity - imposing sartorial elegance forged through clean lines and what is probably, subtly, about 20 kilos of fabric. Close is no stranger to the red carpet, and her wardrobe is only getting stronger (my particular favourite was her dramatic and glam Oscars afterparty look), despite her lack of wins at last year’s award circuit.



Jodie Comer seems to be taking after one of Villanelle’s most beloved outfits in this voluminous dress by Greek designer Mary Katrantzou. Showing again that she can rock gorgeous monochrome, this haphazardly tumbling green shuns a traditional red carpet silhouette, almost erasing the waist entirely in an avant-garde gesture with puffed sleeves that even call to mind those Viktor & Rolf slogan dresses seen a year ago. Despite the comparisons to Baby Yoda (is that a compliment?), it never loses allure or glamour either, this cloud of satin in a piercing, emerald green is unavoidably luxurious, and matched with a subtle smokey eye and pink lip it is minimalistic glory.



Some more Big Sleeve Energy was on offer from Kaitlyn Dever, who melded Arts and Crafts and fin-de-siècle in Valentino. Print mania continues on and off the runway as proved by this stunning William Morris-like embroidered patchwork, while the pomp and ceremony of awards season is satisfied with a chimeric silhouette that hints at once to The New Look - cinched waist and full skirt - and to full-length dresses from the end of the 19th Century, leg o’ mutton sleeves and all.



Category is...big sleeves and all the frills. Bel Powley brought another historic shape with a heavy Modernist twist in Miu Miu - the shape is somehow a little bit Jane Austen, with its free but between burlesque-y frills and a plunging neckline this is hardly a plain look deserving of relegation to the background of a new BBC adaptation. In spite of the arresting baby blue and the big bow, the gown sits just on the right side of twee - landing instead with just a touch of the joyfully camp in the dynamic ensemble. 


Michelle Pfeiffer

Hollywood legends once again prove that you don’t need to be cinched or strung-up in a thousand yards of velvet to look stunning. Think half glittered workout outfit, half classic pleated black skirt. This Brunello Cucinelli attracted some ire on social media, but if you’re really bothered by what feels like a lack of effort, then look no further than the sea of black tie rolling endlessly down every red carpet.


Mountain View

When opera meets fashion

Lucy Boynton

60s commune queen meets disco sci-fi space princess. The Boho-esque chic silhouette seems to be making an underground comeback, with Lena Headey at the 2019 Emmys, and Laura Dern alongside Boynton at this year’s Globes. Her makeup, by the red carpet’s golden child Jo Baker, made a sparkling match to her gown in a jagged, disco eyeliner moment.

Billy Porter

Billy Porter was, as ever, a heavenly vision. Continuing his campaign to break down the binary boundaries of award show fashion, crisp white satin tailoring joins living feather skirt - designer Alex Vinash has created a fusion of Swan Lake and Fred Astaire, and I already can’t wait to see what Porter pulls off at this year’s Met.