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.
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.
Sophia Lillis wore a long‑sleeved floral gown with a maroon clutch at the 31st Annual Critics Choice Awards in Santa Monica 2026.
Santa Monica, January 4th. The carpet lined with logos — FIJI, milagro, Critics Choice Awards stamped across the backdrop. Sophia Lillis stepped into that frame in a dress that felt more grounded than glamorous.
Long sleeves, high neck, floor‑length. Pink and purple floral pattern scattered across the fabric, not loud, more like a steady rhythm. The waist pulled in, the skirt falling straight, no excess volume. Shoes visible — open‑toe heels, simple, functional. A maroon clutch in hand, small but deliberate, breaking the floral with a darker tone.
Hair styled clean, jewelry not obvious. The look leaned on print and shape, not sparkle. It felt lived‑in, almost casual for a red carpet, but that restraint gave it weight.
The critic’s note: Lillis’ choice was quiet, almost stubborn in its simplicity. A gown that didn’t chase glamour, instead relying on pattern and presence.
