Above (L-R): Phoebe Dynevor, Taylor Russell, Sheila Atim

Every attendee knows that an awards show isn’t just about the nominations—there’s a competition taking place on the red carpet as well. Some, though, are staged more fiercely than others—as was the case with today’s BAFTA Awards, held in London’s Royal Festival Hall. Among those vying for the title of best-dressed? Dua Lipa in Training Season-era cranberry, Margot Robbie in Barbie-fied Armani Privé, and Florence Pugh in sci-fi silver Harris Reed—just the latest in a streak of sartorial wins for the Dune 2 press tour.

There can, of course, only be a handful of winners. And depending on who you ask here at Vogue HQ, you’ll get a different response. For Mahalia Chang, head of digital content, it was Emma Corrin, who won her over with a half-sheer Miu Miu twinset, blue stockings and birdcage veil. Features editor Hannah-Rose Yee, however, named Cate Blanchett and her body chain as the evening’s decisive victor. Can you do any better, she pondered, than a sculptural oxblood gown?

Here, the Vogue team presents our pick of the best-dressed from the 2024 BAFTAs. Scroll on to discover the official verdict.

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Emma Corrin in Miu Miu

“Everything Emma Corrin wears just makes sense to me. I love this ensemble they’re wearing today, especially the unexpected tights and playful proportions. A divine way to stand out amongst the gowns and frou-frou. This outing, plus Rosamund Pike’s recent birdcage moment at the Golden Globes, is making me think I should invest in a net fascinator.” —Mahalia Chang, head of digital content

Taylor Russell in Loewe

“Whenever Taylor Russell wears something, I pay attention. Young she may be but she walks every red carpet with the confidence of a seasoned professional; with Loewe’s Jonathan Anderson, the artist to her muse, Russell creates magic. This white, high-necked gown nails the BAFTAs dress code but still lets her playfulness shine. There’s old-school glamour in the silhouette and feathers, but the cut-outs at the waist—and the backless detail—offer drama that’s sensual and contemporary. Simple, striking, absolutely chic.” —Gladys Lai, digital fashion features writer

“What I like about custom Loewe is that Jonathan Anderson plays to his muses’ strengths, instead of making them fit into his vision. At the BAFTAs, Taylor Russell was pure bombshell in this Basic Instinct-reminiscent halterneck dress with feathers. The Canadian has proven she can do artisanal glamour—take her turns in Balenciaga and Schiaparelli couture, or Loewe's cast-iron coat at the brand’s spring/summer 2024 show—and this outfit proves she can pull off fun, frivolous fabulousness, too.” —Jonah Waterhouse, assistant fashion features and news editor

Cate Blanchett in Louis Vuitton

“This particular shade of wine-dark, oxblood burgundy is my very favourite colour, so yes I am a little biased in choosing this look. But I adore Our Cate in this deceptively simple Louis Vuitton look. This super sleek dress is exquisitely tailored, strong-shouldered and high-necked, and accessorised with just a stunning choker/body chain hybrid fashioned from recycled Tahitian pearls. Cate Blanchett in a body chain? I really do love to see it.” —Hannah-Rose Yee, features editor 

Phoebe Dynevor in Louis Vuitton

“Phoebe Dynevor looks picture-perfect in her halterneck Louis Vuitton gown. The simple yet sultry style is one she pulls off with ease, and her decision to wear her hair back lets the look do all the talking. The gown’s miniature train elevates the style even further, ensuring it’s absolutely worthy of the red carpet.” —Angelica Xidias, head of shopping

Sheila Atim in Gucci

“While my love for sequins is starting to diminish from overexposure over the last couple of years, this dress, this cut, THESE sequins, have perhaps reignited a love I thought was lost. I love that she has kept it simple and elegant with the jewellery, and classic with the make-up.”  —Harriet Crawford, junior fashion and market editor

Naomi Campbell in Chanel

“I’ve always been of the opinion that red carpets could use more cloaks and hoods, so I’m utterly delighted to see the queen herself, Naomi Campbell, step out in this liquid, diaphanous moment from Chanel. Completed by a gown with the most delicate ruffles and a fabulous bob!” —Mahalia Chang, head of digital content

Carey Mulligan in Dior

“When it comes to red carpets, the awards season has largely belonged to Carey Mulligan, who hasn’t made a misstep since Maestro began its press circuit. Her and stylist Andrew Mukamal have gravitated towards monochrome—a nod, perhaps, to the portion of the film that’s shot in black-and-white—and shapes that are sculptural and romantic. It’s a language she’s spoken too in a range of designers: archival Schiaparelli at the Golden Globes, Bottega Veneta at the AFI Awards, Celine at the Governors Awards and then Alaïa at the Oscars Nominees Luncheon. It’s a line-up in which this Dior gown, inspired by the famous ‘Autriche’ design from the maison’s haute couture autumn/winter 1951 collection, slots marvellously. Injected with history, but timeless in its own right? Mulligan hit it out of the park.” —Gladys Lai, digital fashion features writer

Sophie Wilde in Loewe

“Sophie Wilde’s developing relationship with Loewe has perhaps peaked with her BAFTAs gown. The emerging Australian superstar’s black draped gown struck a perfect balance between elegance and subversion, with satin panel detailing at the bust and hips to reveal a sliver of bare torso on either side. The look came together in such a clean matter with minimal jewellery and sleek hair, all the attention on her glass-cutting bone structure. Perfection!” —Ella O’Keeffe, Vogue.com.au head of brand

Andrew Scott in Berluti

“It’s not the first time that Andrew Scott has embraced a scarlet tuxedo (he wore a crimson-red double-breasted suit from Berluti for the 2010 Critics Choice Awards), but his latest tomato hued two-piece stole the carpet (whilst simultaneously matching it) at the BAFTAs for me. Who needs to see another black suit in February in London?” —Katrina Israel, editor at large

Dominic Sessa in Saint Laurent

“The Holdovers is set in the ’70, so this Saint Laurent velvet flared-leg suit on its star, Dominic Sessa, feels on-point without being tongue-in-cheek. I like the red shirt peeping out slightly, but not enough that it becomes the main event. Cool, simple and effortless.” —Jonah Waterhouse, assistant fashion features and news editor

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