39 Red-carpet Looks That Have Missed The Mark In 2024 So Far — Sorry

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Helen Mirren knows a thing or two about daring fashion.

Unfortunately, her Golden Globes ensemble — an all-purple ruched Dolce & Gabanna number that featured a dramatic cape — went a step too far and ended up looking more like a costume than a look suited for a red carpet.

Toning down some of the outfit's added elements, like the cape or her glittery heels, may have helped Mirren pull off this look.

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Fantasia Barrino also wore Dolce & Gabanna to the 2024 Golden Globes. Her red-carpet ensemble had not one but three elements: a lilac tulle skirt, a silver shimmery fabric around her waist, and a black velvet corset.

She also paired the look with coordinating black gloves.

Though each element of Barrino's gown was beautiful in its own way, meshing them together came across as distracting. The dress would've done her justice if at least one of the three parts were removed.

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If Jared Leto knows one thing, it's how to make a splash on the red carpet.

But for the 2024 Golden Globes, Leto played it safe in an oversize black blazer, gloves, white suit pants, and heeled shoes.

For someone who showed up to the Met Gala carrying a replica of his head and dressed up as Karl Lagerfeld's beloved cat, it lacked the usual creativity and flare seen from Leto on red carpets.

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On the red carpet, Kate Beckinsale wore a couture Atelier Zuhra design that featured a sheer skirt and train, no pants, and a shimmery bodysuit embellished with a large floral appliqué.

While the dress did make Beckinsale stand out, it looked a bit busy by attempting to incorporate one too many trends in a single design. Taking out some of the additional aspects — such as the ruched train, floral appliqué, and jewelry — would've improved the look.

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"Ted Lasso" star Jason Sudeikis arrived at the Golden Globes wearing a chocolate-brown suit and a purple sweater.

Besides the colors clashing, the sweater made his outfit appear too casual for such a prestigious event. Swapping it for a crisp button-up shirt or a turtleneck would've been better.

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John Krasinski and Emily Blunt were among the adorable celebrity couples to make a joint appearance at the Golden Globes.

While the pair looked great together, Krasinski's ensemble didn't quite hit the mark. His tuxedo was made up of burgundy pants and a red jacket — a color scheme that made "The Office" star look like he was wearing something you might see on a hotel bellhop.

He could've avoided this comparison by sticking to one of the two colors.

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Penelope Cruz wore a floor-length Chanel gown that featured a three-tiered skirt and an embellished bodice decorated with two parallel lines of gold buttons.

While bridal fashion continues to be among the popular red-carpet trends celebrities are rocking this season, Cruz's version was a step too far, coming across as more suited for a wedding ceremony than an awards show.

Toning the dress down by pairing the bodice with a simpler skirt or incorporating pops of other colors into the design might've kept it from veering too far into the bridal department.

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Olivia Munn attended the Governors Awards alongside her partner, John Mulaney.

For the event, she wore a Maticevski set consisting of the brand's Laure Swing top and the Clary Evening skirt.

In some photographs of her entrance, the ensemble's fabric appeared to be wrinkled. Intentional or not, the creases took away from the overall elegance of Munn's look.

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"The Bear" star is widely considered one of the most exciting Hollywood newcomers, cemented by her winning the award for best performance by a female actor in a TV series — musical or comedy — at the Golden Globes.

Edebiri was one of the best-dressed celebrities on that red carpet, wearing a custom red Prada dress with a chic train.

Following her success at the Golden Globes, both fashion-wise and career-wise, it would've been nice to see Edebiri attend the Governors Awards in a gown as memorable as she is.

Instead, she wore a pale-yellow strapless Proenza Schouler dress from the brand's spring 2024 collection that was pretty but forgettable.

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Claire Foy wore a silver-embellished Rodarte gown that featured a short train and a sweetheart necklace. Nearly everything about the dress is perfect — except for the white tulle lining the sleeves.

The fabric didn't mesh well with the rest of the gown and came across as random. Without the sleeves, Foy's gown would've been a winner.

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Eugene Lee Yang brought daring fashion to the Governors Awards with an asymmetric neon suit that featured several cutouts. Still, the look would've been a better fit for a music awards red carpet, which is typically more casual than the Governors Awards.

Choosing a version of the suit in a different color or with fewer cutouts would've made his ensemble more formal.

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Elizabeth Debicki, who won best supporting actress at the Critics Choice Awards for her role as Princess Diana in "The Crown," arrived on the red carpet in an Oscar de la Renta jumpsuit made up of two parts — a delicately bedazzled bodice and high suit pants cinched at the waist with a dramatic bow.

The only issue is that the most exciting part of it — the sparkly top — was prematurely cut off by the bulky lower part of the ensemble. Altering the pants to sit lower on Debicki's waist would've helped this look shine on the red carpet.

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The actor wore a two-toned Dior dress made from semi-sheer lace.

The combination of the black and off-white colors, the lace, and the conservative cut of the gown made it seem more fitting for a more serious, somber occasion than the red carpet of a glitzy Hollywood event.

Using different colors or mixing in a fabric other than lace would've made Awkwafina's look suit the red carpet more.

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Kaley Cuoco is roughly 5-foot-6, according to her IMDb page. However, she seemed much shorter in photographs taken of her on the Critics Choice red carpet.

One of the reasons could be that her black, strapless Dior gown cut off just above her heels. The tailoring made "The Fight Attendant" star's proportions seem more compact than they are, which could've been prevented by making the dress slightly shorter or floor-length.

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Alison Oliver's Loewe gown was reminiscent of the optical illusion dress Jennifer Lawrence wore while promoting "No Hard Feelings" in Spain in 2023.

The only issue with the Grecian goddess-inspired look was that the wrapped midi length cut off abruptly. It would've looked more regal on the red carpet if it were floor-length.

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Dan Levy wore a grayish-brown suit with pants cropped above the ankles, revealing shiny black Oxford shoes. The "Schitt's Creek" actor paired it with thick, black-rimmed glasses and a matching skinny tie.

The look would've made a bigger statement on the red carpet if it had doubled down on the oversized clothing trend, as it wasn't clear if Levy's jacket wasn't tailored correctly or purposefully loose-fitting.

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Quinta Brunson wore a Dior midi dress made from crushed pink satin, meaning that the wrinkles on the material were no accident.

While the wrinkles-on-purpose look may not be as jarring in person, they come across that way in photographs, detracting from the elegance of the dress and the exquisite color.

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Selena Gomez, who arrived at the Emmys with her boyfriend Benny Blanco, wore a semi-sheer Oscar de la Renta gown featuring dark-red sequins and bold cutouts.

Her look missed the mark as it lacked a final touch of drama. Adding a veil, dramatic sleeves, or a long train would've made this one of Gomez's best red-carpet moments to date.

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While mixing bold patterns and fabrics sometimes creates a memorable red-carpet look, that wasn't the case with Ali Wong's Emmys look.

The Louis Vuitton dress featured a floral skirt and a silver embroidered bodice with sheer detailing at the top. The clash between the fabrics and patterns of the skirt and the top didn't quite work, which meant it looked like Wong was wearing two distinct outfits simultaneously.

The skirt is particularly unique, and it would've been great to see her wear it with a different top, perhaps one that accentuated some of the colors in the flower patterns.

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Alex Borstein's scarlet dress had a daring halter neckline, floral and feather details, and a daring slit. She also appeared to wear the gown over a black lace negligee that matched her open-toe platform heels.

"The Marvelous Mrs. Maisel" star completed the look with a red floral headpiece and a clutch adorned with black fringe.

If Borstein had toned down one or two of the elements of the ensemble, it would've made it seem more suited for the red carpet than an outfit pulled from a costume department.

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All eyes were on Doja Cat when she arrived at the Grammys in a see-through Dilara Findikoglu gown. The dress featured a corset and exposed boning.

Doja Cat is known for her daring sense of style, so seeing her bring that energy to the red carpet wasn't surprising. But a few of her accessories, namely her red Alexander Wang heels and black-rimmed glasses, were so bold that they took attention away from the dress itself. Replacing those pieces with items in muted colors would've allowed the gown to take center stage without distractions.

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Graham arrived on the Grammys red carpet in an ivory caped Stéphane Rolland backless dress featuring a bold cutout across her waist.

It was one of the most daring looks of the night, but because it incorporated so many design elements, the gloves Graham wore made her ensemble appear a bit too busy. Ditching the gloves would've easily solved that.

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Clarkson wore a white Jason Wu off-the-shoulder dress, accessorizing with a coordinating clutch and silver jewelry from Jared Atelier.

While she certainly nailed the Old Hollywood glamour aesthetic, Clarkson's dress seemed slightly out of place at an event where attendees are known to experiment with daring fashion. If she'd worn this gown to something like the Oscars, for example, she might've been one of the best-dressed celebrities there.

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The DJ arrived at the Grammys wearing a brown, loudly patterned vintage suit.

The suit itself was eclectic and fun, but it clashed with the printed shirt Harris chose to wear. By sticking to a simple turtleneck, either in black or brown, he would've achieved the vintage aesthetic while avoiding clashing patterns.

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Brooks wore a custom-designed Christian Siriano ensemble split down the middle to look like half of a black tailored suit and half of a dress with a purple ombré tulle skirt, a nod to her latest role in the award-nominated 2023 adaptation of "The Color Purple."

While bold, the half-suit, half-dress silhouette ventured too far into costume territory. The skirt was so eye-catching that it would've been nice to see it properly on display without the suit cutting it off.

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King arrived at the SAG Awards wearing a semi-see-through black and beige Givenchy gown decorated with blue floral prints. The style channeled the Y2K trend, which continues to be popular this year.

Still, it looked too busy with all the accessories King paired it with — including the sheer black opera gloves, silver rings, a chunky necklace, and a plastic stretch headband. By removing some of the accessories, like the gloves and the rings, King could've let her dress make more of a statement.

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Meester wore a bespoke St. John dress made from a dark-brown satin to the awards show. She paired the form-fitting gown, which featured two thick straps across the shoulders, with silver jewelry and a black clutch.

While she looked chic, Meester missed the mark because the gown was slightly too simple. Adding a belt or wearing a version in a different, more eye-catching color would've made Meester's red-carpet arrival more memorable.

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Johnson arrived on the Oscars red carpet wearing a silver Dolce & Gabanna suit over a low-cut dark crimson shirt. He paired his ensemble with dark dress shoes and ombré sunglasses.

His suit was made from a silky material that, unfortunately, appeared to wrinkle easily. Swapping out the fabric for a material less susceptible to creasing would've helped The Rock hit the mark with this look.

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Hough's stylist, Jennifer Mazur, told People Magazine that the dancer "fell in love" with an Alexandre Vauthier jumpsuit that featured wide pants and a shimmery gold-and-silver bodice when she first saw it. Mazur also said Hough isn't afraid to be "different" and take a "risk."

The jumpsuit was a playful departure from the sea of gowns on the Oscars red carpet — and did trick a few people into thinking it was a dress). However, the getup came across as a bit too informal for what is considered Hollywood's most prestigious awards ceremony.

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McCarthy oozed old Hollywood in a ruched, long-sleeved scarlet gown by Cristiano Siriano. The only hiccup with the outfit, in our opinion, was the addition of pink taffeta that traced the outline of her sleeves and shoulders, then formed a lengthy train.

Pink and red sometimes clash, but here the two colors manage to work well together. It's the volume of the taffeta, especially where it bunches up around McCarthy's shoulders, that is distracting. Using less taffeta, or scrapping it all together, would've allowed McCarthy to shine on the red carpet.

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Robbie, who was snubbed for her role in "Barbie" at the Oscars, arrived on the red carpet in a sculptural, sequin-heavy black Versace gown. It was a sharp departure from the bright, Barbie-inspired red-carpet outfits she donned for other awards shows and the movie's press tour.

While she did sparkle in the gown, it was a slightly underwhelming showing for Robbie. It might've been a letdown for "Barbie" fans eager to see her rock a bubblegum-pink hue or channel one of the vintage Mattel dolls, as she has done previously.

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Ora, who joined her husband Taika Waititi at the "Garden of Time"-themed Met Gala in May, wore a Tom Ford dress strung together with beads that she told Vogue dated back to the first and second century BC.

The age of the beads did speak to the time element of this year's event, but the overall look could have benefited from a few changes in styling.

More beads could have been used to create a full dress so that Ora wouldn't have needed the nude bodysuit, which was quite noticeable. She also could've swapped out her light pink stilettos for heels in a brighter color to coordinate with the cascading assortment of multicolored beads.

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Hemsworth was a cochair of the 2024 Met Gala alongside Zendaya, Bad Bunny, and Jennifer Lopez. But unlike his fellow cochairs, the "Thor" star wore a red carpet look that didn't seem to reference this year's theme or dress code.

His outfit consisted of a cream Tom Ford suit that he paired with a slightly unbuttoned white shirt and black dress shoes.

Being a Met Gala cochair is a coveted role, so it would have been nice to see Hemsworth seize the opportunity by alluding to the Sleeping Beauties: Reawakening Fashion" theme or "Garden of Time" dress code. Something as simple as adding a floral motif to his jacket would've done the trick.

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Sivan isn't known to play it safe on the red carpet. At the 2021 Met Gala, for example, he turned up wearing a skintight black dress with a sloping neckline and bold cutouts.

Given his history with daring fashion, his look this year — a black-and-blue deconstructed Prada suit — was underwhelming. Referencing the theme more directly may have helped add some flair to the ensemble.

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Saldaña wore a semi-sheer nude Chloé dress, leather riding boots, and a gold belt inscribed with the fashion house's name.

With her beachy waves, the "Avatar" star's overall look was slightly too casual for the Met Gala. However, if she'd worn it to a summer festival, Saldaña would have fit right in.

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Taylor attended the screening of "Megalopolis" in Cannes wearing a white-, black-, and yellow-striped Roberto Cavalli jumpsuit with a daring center cutout from neckline to waist.

The outfit, whose pattern is meant to depict a sunburst, evoked the 1980s, so it's not surprising that Taylor wore her hair in a style from that decade.

However, the combination made her look seem more like a costume than a red-carpet ensemble. Slicking back her hair and keeping her jewelry to a minimum could have helped prevent that.

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Fonda paired an Elie Saab suit embellished with shimmery floral appliqués with a leopard print coat, metallic heels, and silver jewelry.

All of the layers, patterns, and textures created a look that was too busy and clashing. Ditching the jacket — or pairing it with a simpler black suit — would have helped Fonda hit the mark.

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Plaza's eggshell-colored custom Loewe gown featured a quirky rolled waistband, a pleated skirt, shoulder pads, and long sleeves.

Combined with her side-part hairstyle, it seemed like an attempt to channel Old Hollywood glamour, but some of the details of the dress came across as dated — and not in a good way.

Ditching the shoulder pads and sleeves, for example, might have modernized the classic silhouette.

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Cannes was a missed opportunity for Hemsworth to redeem himself from the Met Gala.

Unlike his "Furiosa: A Mad Max Saga" costar Anya Taylor-Joy, who has been lighting up red carpets in Cannes with bold and innovative looks, Hemsworth arrived at the screening for their film in yet another suit and partly-unbuttoned shirt that, again, sadly lacked excitement.