There was no single winner on the 2025 Grammys red carpet: the strongest looks ranged from vintage couture and archival gowns to sharp suiting and deliberately theatrical silhouettes. Vogue’s 21-look gallery offers one publication’s editorial picks, not a universal ranking. Here are standouts, compared by silhouette, color, tailoring, detail and design history.
What shaped the 2025 Grammys red carpet?
The 67th Annual Grammy Awards took place at Los Angeles’s Crypto.com Arena on February 2, 2025. The carpet did not settle on one look or palette. The Associated Press described black and subdued tones against the backdrop of the Los Angeles wildfires, alongside sparkle, statement sleeves, embellishment and red. The result was a mix of restraint and individual expression, rather than a single defining trend. AP’s red-carpet coverage quoted Harper’s Bazaar digital culture editor Bianca Betancourt saying, “While the Grammys carpet is one where we see most celebrities take major risks, some of the night’s most notable artists stayed true to their personal style.” InStyle fashion features director Madeline Hirsch said, “There was a lot more edge and personality than usual on this red carpet. Everyone followed their own vision and aesthetic, which was fun to watch.”
Which gowns stood out?
Chappell Roan: theatrical vintage couture
Roan’s yellow, frilled Jean Paul Gaultier spring 2003 couture look stood out for its Degas-inspired ballerina pattern and teal details. The official Grammy account describes the ballerina imagery; AP identifies the piece as vintage couture and reports that Beyoncé had worn the design in Elle in April 2003. These details make the look a striking example of fashion with a documented past, not simply a new red-carpet gown. Vogue selected Roan for its gallery, while GRAMMY.com’s event coverage describes the gown’s color and pattern.
Sabrina Carpenter: a baby-blue gown with a film reference
GRAMMY.com describes Carpenter’s gown as custom Loewe, in baby blue, and says it referenced an Edith Head design worn by Shirley MacLaine in the 1964 film What a Way to Go! Vogue’s gallery caption instead identifies Carpenter’s look as JW Anderson. Because the published captions conflict, the most precise account is to attribute the custom Loewe description and film reference to GRAMMY.com rather than state one designer label without qualification. The official Grammy write-up gives the gown’s historical reference; Vogue’s gallery uses a different designer attribution.
#1 Best Overall
Olivia Rodrigo: a streamlined vintage silhouette
Rodrigo’s vintage Versace gown offered a more streamlined counterpoint to the carpet’s elaborate sleeves and embellishment. Vogue calls it slinky and black; the Los Angeles Times notes its plunging halter top. The combination of a spare silhouette and a strong neckline gave the look impact without relying on a large volume of decoration. Vogue’s gallery and the Los Angeles Times outfit rundown provide those descriptions.
Sierra Ferrell: pearls, veil and luminous sleeves
Ferrell’s Jeffrey Kelly Designs gown made its impression through surface and shape: AP describes huge luminescent sleeves, extensive pearl embellishment, a matching choker, pearl earrings and a veil that gave the look a bridal cast. She also used a scepter to hold her acceptance speech. GRAMMY.com describes the dress as regal and covered in white pearls. Together, the details make it one of the night’s most ornate ensembles. AP’s coverage and GRAMMY.com describe the look.
Rank #2
Other memorable gown silhouettes
Several other looks stood out for their shape or finish. The Los Angeles Times describes Cardi B in a sparkling Roberto Cavalli mermaid gown, Miley Cyrus in a black leather Saint Laurent halter gown, and Charli XCX in a gray corset dress with cascading ruffles and cutout knee-high boots. Those choices show the range between sculpted, body-skimming forms and deliberately layered drama. The Los Angeles Times reports those outfit details.
Which looks brought tailoring and menswear into focus?
Vogue’s selections were not limited to gowns. Billie Eilish wore Prada, Doechii wore Thom Browne, J Balvin chose a Dior opera coat, and Troye Sivan wore lavender Prada suiting. The choices put tailoring, outerwear and color on equal footing with the carpet’s dresses: the opera coat made a dramatic statement through its shape, while Sivan’s lavender suit brought color into a more traditional menswear silhouette. These are among Vogue’s editorial picks, rather than a comprehensive ranking of every attendee.
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Vintage and archival pieces brought a visible design history to the carpet. Roan’s 2003 Gaultier couture look and Rodrigo’s vintage Versace gown drew on existing designs; Carpenter’s custom Loewe gown, as described by GRAMMY.com, referenced a film costume from 1964. The differences matter: a vintage garment is an earlier piece, while custom describes a look made for its wearer; a reference to an older design does not by itself make a new gown vintage. The Grammy Museum’s exhibit page also lists Taylor Swift’s custom Vivienne Westwood red-carpet dress and Casadei heels from the 67th Grammys. The Grammy Museum exhibit documents those items.
What made Taylor Swift’s red look notable?
Swift wore a short red Vivienne Westwood dress with a small red jewel “T” charm at the hem, according to AP. The Los Angeles Times also describes the dress as short and red. Hirsch, quoted by AP, called it “my favorite of hers to date” and added, “You can’t go wrong with a Vivienne Westwood minidress, and she’s been wearing the designer quite a bit over the past year.” The charm provided a small personal detail in a look whose color and silhouette were immediately legible. AP’s report includes the charm and Hirsch’s reaction; the Los Angeles Times describes the dress.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How to choose a favorite
“Best dressed” depends on what a viewer values. A useful comparison is to ask whether a look succeeds through silhouette and tailoring, color and surface, theatricality or restraint, accessory details, or the story behind a vintage or custom design. Roan’s couture pattern, Ferrell’s pearls and sleeves, Rodrigo’s vintage halter silhouette and the tailored menswear selections make different cases; no single criterion makes one of them an objective winner. Vogue’s gallery invites readers to vote on their favorite, which is the right spirit for a subjective red-carpet list.
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