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1Fix the driver behind crashes, sound loss and screen glitches2Repair Windows errors before they cause bigger problems3Scan for outdated or missing drivers - takes under a minuteAriana Grande was the clearest editorial favorite at the 2025 Oscars, wearing a pale-pink Schiaparelli Haute Couture gown that nodded to Wicked without becoming a costume. Here are the night’s strongest looks, with the publication-specific judgments and fashion trends kept separate from any claim of an official ranking.
Ariana Grande made the clearest case for the top spot on the 2025 Oscars red carpet, appearing in a pale-pink Schiaparelli Haute Couture gown that referenced her Wicked character without turning the outfit into a literal costume. But there was no official Academy ranking of the evening’s fashion. “Best dressed” remained an editorial judgment, and the strongest consensus formed around Grande, Elle Fanning, Lupita Nyong’o, Demi Moore, Fernanda Torres, Selena Gomez, Mikey Madison, Cynthia Erivo, Timothée Chalamet, and Colman Domingo.
The 97th Academy Awards took place on Sunday, March 2, 2025, at the Dolby Theatre at Ovation Hollywood in Los Angeles, according to the Academy’s official ceremony page. The selection below focuses on the ceremony red carpet, not the separate Vanity Fair Oscars Party arrivals.
Ariana Grande in Schiaparelli Haute Couture
Grande was Harper’s Bazaar’s number-one best-dressed choice, and the reasoning is easy to see. Daniel Roseberry’s Spring 2025 Schiaparelli Haute Couture design used a corseted bodice and a rippling peplum silhouette to create a fantastical, pale-pink effect.
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The gown carried a visual echo of Glinda from Wicked, but the reference stayed within the language of couture rather than becoming a character costume. That balance—recognizable context, sculptural construction, and a strong silhouette—made Grande the night’s most immediately legible fashion statement. The designer credit is important: this was haute couture, not a commercially available version of a celebrity dress.
Elle Fanning in Givenchy by Sarah Burton
Harper’s Bazaar placed Fanning second for a white lace Givenchy gown with a sweetheart neckline and a black ribbon bow at the waist. The look offered a quieter kind of drama than Grande’s Schiaparelli: romantic, polished, and rooted in old-Hollywood eveningwear.
The black bow prevented the white lace from becoming visually weightless, giving the gown a graphic interruption at the center of the silhouette. It was also an early public glimpse of Sarah Burton’s direction at Givenchy, making the appearance notable beyond the dress itself.
Lupita Nyong’o in Chanel
Nyong’o supplied one of the evening’s most refined classic-glamour moments in custom Chanel. Harper’s Bazaar highlighted the gown’s pearl and sequin detailing, along with its elegance and polish.
Where Grande’s dress depended on architectural shape, Nyong’o’s relied on surface work and proportion. The pearls and sequins caught the light without overwhelming the gown, making it a useful counterpoint to the carpet’s more theatrical bows, volume, and character references.
Demi Moore in Armani Privé
Moore wore a silvery, embellished Giorgio Armani Privé gown with a body-hugging, sculptural effect. Vogue’s Oscars gallery credits the look to Armani Privé, while Harper’s Bazaar singled Moore out for its strength and sculptural impact.
The metallic gown fit a broader visual thread in Moore’s awards-season dressing: fashion that echoed the body-focused themes and identity of The Substance. It also placed her within one of the night’s clearest trends—silver and reflective embellishment—without relying on a simple sequined column.
Fernanda Torres in Chanel
Torres chose a black embroidered Chanel couture gown featuring floral appliqués, a sheer skirt, and fringe at the waist. Both Harper’s Bazaar and the Los Angeles Times included her among the evening’s leading fashion stories.
Torres’s look rewarded close viewing. Its impact came from the relationship between embroidery, transparency, and movement rather than from a bright color or oversized shape. The fringe at the waist introduced motion, while the floral details kept the black gown from reading as austere.
Selena Gomez in Ralph Lauren
Gomez represented the evening’s more traditional version of glamour in Ralph Lauren. Coverage emphasized the gown’s ultra-glamorous silhouette and elegant jewelry, and Harper’s Bazaar named her among its standouts.
Her appearance broadened the best-dressed conversation beyond couture spectacle. The look worked through a familiar red-carpet formula—polished eveningwear, a controlled silhouette, and carefully chosen jewelry—but executed it with enough finish to stand alongside the night’s more experimental designs.
Mikey Madison in Dior
Madison’s custom Dior gown was one of the most prominent arrivals in Vogue’s complete 150-look gallery. The Guardian’s photo coverage also identifies the dress as custom Dior, while the Los Angeles Times placed Madison among the evening’s best looks.
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As a breakout star, Madison brought awards-season momentum onto the Oscars carpet. Her Dior appearance was less about a single novelty detail than about the authority of a carefully built, high-fashion entrance. Because the look was custom, it should not be presented as a dress readers can simply purchase or reproduce exactly.
Cynthia Erivo in Louis Vuitton
Erivo embraced scale in a dramatic Louis Vuitton gown built around a large bow and a high-volume silhouette. The Los Angeles Times included her in its lead fashion coverage, and Vogue connected Erivo’s and Grande’s outfits to high-fashion homages to their Wicked characters.
Erivo’s look made shape as important as color. The bow created an unmistakable focal point, while the volume gave the gown a theatrical presence suited to the ceremony’s setting. Alongside Grande’s pink Schiaparelli, it illustrated how character-aware styling can remain editorial and couture-driven rather than literal.
Timothée Chalamet in Givenchy by Sarah Burton
Chalamet challenged the standard black-tuxedo expectation in a custom butter-yellow Givenchy look. The Los Angeles Times described it as butter-yellow Givenchy, while the Guardian treated his broader awards-season styling as part of an unusually colorful Oscars carpet.
The cropped, fashion-forward tailoring and unconventional color extended the Bob Dylan-inspired direction associated with his awards-season wardrobe. It was a menswear choice with a clear point of view: not merely a different shade of formalwear, but a deliberate departure from the usual proportions and palette.
Colman Domingo in custom Valentino
Domingo was an essential inclusion in any serious account of the night’s best menswear. The Los Angeles Times specifically named him among the men making dramatic choices, wearing custom Valentino.
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Including Domingo alongside Chalamet matters because the evening’s fashion story was not limited to gowns. Both men demonstrated that Oscars formalwear can use color, proportion, and designer-specific construction to create a memorable silhouette rather than defaulting to a conventional black tuxedo.
Other notable arrivals
The wider carpet offered more strong options for a photo gallery. Emma Stone appeared in custom Louis Vuitton silver chainmail, a look documented by the Guardian. Vogue’s gallery also provides photographed looks by Zoe Saldaña, Halle Berry, Monica Barbaro in Dior, Andrew Garfield in Gucci, Jeremy Strong, Mindy Kaling in Oscar de la Renta, and Felicity Jones.
These names should be treated as gallery expansion choices rather than a claim that every publication ranked them identically. Vogue’s gallery is especially useful for image selection because it documents a broad range of arrivals, but its first featured looks should not be mistaken for an official order of merit.
The major fashion themes of the 2025 Oscars
Old-Hollywood glamour, updated
The carpet combined golden-age references with modern construction. Fanning’s lace, Gomez’s polished eveningwear, Nyong’o’s refined embellishment, and the evening’s emphasis on elegant jewelry all drew on familiar Hollywood glamour. The difference was in the execution: contemporary couture proportions and more visible styling concepts kept the references from feeling purely archival.
Silver and metallic shine
Silver became one of the evening’s most consistent visual stories. Moore’s Armani Privé used reflective embellishment and body-conscious structure, while Stone’s Louis Vuitton chainmail offered a more overtly metallic surface. The result was a “silver screen” effect that connected Hollywood nostalgia to a distinctly modern, light-catching finish.
Bows and sculptural volume
Grande’s wavy Schiaparelli peplum and Erivo’s oversized Louis Vuitton bow showed that silhouette could carry as much impact as color. Volume was not used simply to make a gown larger; it directed the eye, shaped the body, and created a strong photograph from multiple angles.
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Feathers, fringe, and tactile detail
Feathers and fringe were notable details across the carpet, but they were not present in every major look. Torres’s Chanel is the clearest example in this group: floral embroidery and fringe supplied texture and movement without overwhelming the black gown. The broader lesson was that tactile surfaces—rather than only bright colors—could make a look read clearly in photographs.
Character references without literal costumes
Grande and Erivo made Wicked part of the evening’s fashion conversation through color, shape, and theatrical attitude. Moore’s Armani Privé also aligned with the visual themes surrounding The Substance. This approach is often called character-aware or “method” dressing: the film informs the fashion, but the result remains a complete evening look rather than a costume replica.
A more colorful menswear palette
Chalamet’s butter-yellow Givenchy was the clearest break from the standard tuxedo palette, and Domingo’s custom Valentino reinforced the case for more expressive menswear. Color alone did not make these looks successful; the tailoring and proportions gave the departures a formal, intentional finish.
How to read “best dressed” lists
Grande has the clearest explicit top ranking here because Harper’s Bazaar placed her first, followed by Fanning and Chalamet. But that does not make her an official winner. Vogue’s gallery, the Los Angeles Times’ selections, and the Guardian’s photo coverage emphasize overlapping names while using different editorial priorities.
For that reason, the fairest conclusion is a consensus cluster rather than a definitive scoreboard: Grande, Fanning, Nyong’o, Moore, Torres, Gomez, Madison, Erivo, Chalamet, and Domingo each represented a different successful strategy. Some won through couture volume, some through texture or metallic shine, and others through restrained glamour or a more adventurous approach to menswear.
Image and caption guidance
The major Oscars galleries use credited editorial photography from providers including Getty Images, AFP/Getty, and WireImage. Images from Vogue, Harper’s Bazaar, the Guardian, or Getty should not be treated as freely reusable. Production teams should obtain the appropriate license or permission and preserve the photographer and agency credit supplied by the rights holder.
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Captions should also confirm whether a look is custom, couture, archival, vintage, or simply inspired by a runway design. The safest practice is to use the designer credits above only where the cited coverage supports them, and to avoid claims about what a celebrity personally chose or how comfortable they felt unless an interview documents it.
The Bottom Line
The 2025 Oscars did not produce an official best-dressed winner, but Ariana Grande’s pale-pink Schiaparelli Haute Couture was the clearest editorial favorite. Around it, the carpet’s strongest looks—Fanning’s Givenchy, Nyong’o’s Chanel, Moore’s Armani Privé, Torres’s Chanel, Madison’s Dior, Erivo’s Louis Vuitton, and the expressive menswear of Chalamet and Domingo—created a cohesive fashion story about old-Hollywood glamour, silver shine, sculptural volume, texture, character references, and a willingness to move beyond the traditional black tuxedo.
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