Chase Infiniti attended the 31st Annual Critics Choice Awards in a custom butter-yellow Louis Vuitton two-piece accessorized with Messika fine jewelry.
The Barker Hangar has this weird, echoing light that makes everything look a little bit like a film set between takes. Chase Infiniti stands there, looking remarkably steady in a shade of butter yellow that probably shouldn’t work under fluorescent stadium bulbs, but it does. It is a best dressed moment that feels less like a costume and more like a second skin. The fabric is a slinky crêpe georgette, and the way it drapes—pleated, almost like it was folded in a hurry—gives the whole thing a frozen grit. There is a sculptural, avant-garde energy to the top, which swoops into a cape that probably catches every draft in the room.
The midriff is out, a blunt horizontal break that stops the yellow from being too overwhelming. It is a celebrity look that understands the power of a pause. She is carrying a Louis Vuitton Malle Bag , a tiny, rigid box that looks like a miniature piece of industrial luggage. It is a smart move; the hard lines of the bag anchor the fluid, almost melodramatic even, ruching of the bodice. It feels like a lavish mess of soft fabric and hard metal, a designer outfit that refuses to pick a side.
She is wearing enough Messika jewelry to sink a small boat, yet it doesn’t feel like foolish glamour. The Messika Dancing Moon Earrings and the Fiery Earrings catch the hangar’s flat light, throwing little sparks against her skin. The Move Iconica Diamond Pave Bracelet and the Glam’azone Double Ring are just… there. They aren’t shouting. They are just part of the architecture. Nothing is stupider than over-accessorizing a dress that already has a built-in cape, but somehow the Messika My Twin Toi & Moi Ring makes the whole fashion moment feel finished.
Odessa A’zion wore a silver sequined bat-wing gown by Ott Dubai with a choker neckline to the 31st Annual Critics Choice Awards.
The lighting inside the Barker Hangar is always a little weird—flat, wide, and remarkably un-glamorous for a red carpet . Odessa A’zion stands there in a silver sequined gown that looks like it was cut from the sky of a 1970s discotheque. It is a custom piece by Ott Dubai, and it has these massive bat-wing sleeves that feel like a lavish mess of fabric whenever she moves. She looks like she is ready to either accept an award or fly away into the Santa Monica night. There is a frozen grit to the sequins; they don’t just shimmer, they bite at the camera flash.
Her Botticelli curls are everywhere, a wild halo that fights with the structure of the high neck. People are debating if it is a wig, which is just foolish glamour talk. The designer outfit pools at the floor, hiding her shoes and turning her into a shimmering, silver pillar. It is a best dressed contender precisely because it feels like she picked it out herself, put it on, and walked out the door without asking for permission.
Hannah Einbinder wore a cream off‑shoulder gown with voluminous puff sleeves and a fitted black skirt at the 31st Annual Critics Choice Awards 2026.
Santa Monica, January 4th. The carpet lined with logos — FIJI, milagro, Critics Choice Awards stamped across the backdrop. Hannah Einbinder stepped into that frame in a gown that felt both playful and strict.
Cream above, black below. Off‑shoulder cut, sleeves puffed wide, almost ballooning, fabric gathered with intention. The skirt fitted, long, floor‑length, pulling the look back into discipline. The contrast was sharp — softness against structure, volume against restraint.
