I’m a Fashion Editor and These Were by Far My Favorite Emmys Red Carpet Looks

At first, I didn’t think all that much of Baranski’s Oscar de la Renta gown, but the more I look at this ensemble, the more it grows on me. The fabric is truly stunning, with just the right amount of shine and structure, and the neckline is draped to perfection. The flowers are just subtle enough and I really appreciate that she chose an accent color with the red shoes (and matching nails and lip) rather than lean into that floral theme. The finishing touch—her gently waving blowout—adds an old-Hollywood vibe to the whole thing.

I really tried to pick just one look here, but it has to be a tie between these two lovely women. The draping of Randolph’s Sophie Couture dress lends a nod to classic gowns, but the hood and asymmetrical sleeves make it undeniably modern, as does her wet hair look. The sunshine yellow hue is the true cherry on top for me, and feels easy and elegant. As for Torres, I really fell in love with her one-shoulder gown watching her move during red carpet interviews. Just like Randolph’s, Torres’s dress has such an elegant drape and is proof that Barbie pink may not be dead after all.

If People does not deem Bailey the “Sexiest Man Alive” soon, I will gladly do it for them. He looks like Tom Ford—effortlessly sexy and somehow both retro and modern. This Giorgio Armani look could very easily go cheesy and bad in the hands of the wrong star, but Bailey manages to make an unbuttoned silk shirt look incredibly suave instead of sleazy. The accessories are all so meticulously chosen, from the loafers to the watch to the brooch, but the best part of this entire look is the sunglasses. (P.S. His Fellow Travelers co-star Matt Bomer didn’t look too shabby either.)

Talk about a power couple! Both of their looks are so fabulously gorgeous on their own, but they somehow also work together without being too matchy-matchy. I love the structural nature of the bodice and sleeves on Paulson’s Prada gown, and Taylor’s suit is tailored to perfection. And both played with the idea of cropped silhouettes, although in different ways. Each on their own earned a 10/10 for me, but together they’re somehow even better.

There’s been a recent red carpet trend to pair stunning gowns with loose, limp hair and it drives me nuts. And, yet—somehow it works here on Einbinder. Something about the structure of her dress and the color of the fabric works with the cut, color and delicate wave of her hair. It all feels like a very subtle nod to Joan of Arc. And I love the fluid-yet-structured nature of that neckline.

Drop. Dead. Gorgeous! The silhouette of her custom Ralph Lauren number is tailored beautifully to show off her curves and that neckline looks stunning on her. And I love that she chose to keep the jewelry minimal to allow all that glitter around her neck to steal the spotlight. That plus the sleek, straight hair draws your eye up to her beautiful face and a sharp cat eye. This may just be one of my favorite Emmys looks of all time—a true classic for the ages.

I spotted Evans’s look early in the night while watching pre-red carpet arrivals (yes, that early) and have not stopped thinking about it since. The pants are the tiniest smidge too long, but otherwise this suit is wonderfully cut and is incredibly flattering. But what really made me fall in love with this look is the color combo. The brown-and-teal pairing is absolutely beautiful, they compliment one another so nicely. He is another person who used accessories very smartly, and I plan to copy his necklace layering ASAP.

Jacobs, who plays Elora Danan on Reservation Dogs (as well as writing and directing), managed to straddle the line between extra and too much with aplomb in this ACT N°1 number. I love that you can tell it’s a suit—one covered in Carrie Bradshaw-esque tulle, but a suit nonetheless—but is otherwise quite unique. It is undoubtedly a risky look, but I, for one, think it works.