Andra Day wore Ugg Fluff Yeahs with her gold mesh gown to an Oscars after party. Addison Rae, Selena Gomez, Kylie Jenner and Kaia Gerber have been snapped wearing theirs on the sidewalk, on set and running to get coffee. For spring, London designer Molly Goddard gave Uggs a high-fashion spin, creating flatforms to pair with her feminine tulles, and come June, New York designer Telfar Clemens will release an Ugg sheepskin version of his famed Bushwick Birkin.
Not since the early Aughts have Uggs been so popular. Only now, there’s even bigger business in the footwear-driven-lifestyle sector, with the sale of Birkenstock to LVMH Moët Hennessy Louis Vuitton-affiliated L Catterton, and the initial public offering of Dr. Martens.
The Southern Californa brand is poised to compete globally with its own head-to-toe ambitions. That’s due in large part to Andrea O’Donnell, president of fashion lifestyle at Ugg parent company Deckers Brands, a cool Brit who arrived five years ago at the Goleta, Calif., headquarters with experience at DFS Group, Lane Crawford and John Lewis department stores in the U.K.
During her tenure she has transformed Ugg from a sleepy cold weather boot business into a fashion player through buzzy designer collaborations and influencer campaigns (featuring from DJ Peggy Gou to fashion editor André Leon Talley).
O’Donnell and her team have built on the Classic sheepskin boots to create several innovative (and Instagrammable) footwear franchises, like the Fluff Yeah slipper sandals in raver colors, the Fluffita in a collage textile inspired by the California super bloom, and the Neumel chukka.
Last year they introduced the brand’s first dedicated ready-to-wear collection, with cashmere sweatsuits, fashion fleece and tie-dye biker shorts, which in coming seasons will evolve into more substantial outerwear, knitwear and activewear offerings.
“When I hired Andrea, I said your job is to disrupt us…I didn’t know what that looked like, but what she has done is remarkable. We’ve created a brand with core traditional accounts, new accounts and younger, more diverse consumers. It shows how much potential Ugg really has,” said Dave Powers, chief executive officer of Deckers, who bonded with O’Donnell over their shared love of ’80s and ’90s alternative music and their belief in a “no-a–holes” policy at work.
The relationship is paying off.
During the pandemic, cozy indoor and outdoor adventure dressing have been good for the bottom line. Deckers, which encompasses footwear lifestyle brands in both categories, including Hoka and Teva, reported record third-quarter results in February, propelled by Ugg, which saw net sales increase 12.2 percent to $876.8 million, compared to $781.1 million for the same period last year.
Powers sees potential for even more robust growth in the next five years. He’s aiming to scale rtw from 10 to 25 percent of the business, and retrofit Ugg’s 140 stores to better showcase the collection, which is front and center in the 11,000 square-foot Fifth Avenue flagship. He’s also expanding wholesale distribution from rtw launch partner Nordstrom to Saks Fifth Avenue, Dillard’s, Neiman Marcus and Bloomingdale’s this fall.
“It’s one of our top priorities. Now that we have proof of concept, we need investment in technical design and merchandising but also in bringing it to market — making our proposition online and with our partners more compelling,” Powers said, noting opportunity for expanding the brand further into Europe and China.
Deckers president of fashion lifestyle Andrea O’Donnell. Mikaela Hamilton/WWD
When O’Donnell signed on, Ugg — which was founded in 1978 by an Australian surfer in California — was stuck in the classics, with an aging fan base. “We had a lot of good intelligence on our customers, and one segment in women’s was saying her primary purchasing decisions were influenced by style.…So I knew we needed to change the way we thought about design,” she said.
Although she was an enthusiastic (U.K.-based) early adopter of Uggs in their Us Weekly, “The Simple Life” era, attracted by the starry SoCal associations, O’Donnell still needed a crash course in the actual California lifestyle when she arrived in the Santa Barbara area, where Deckers is based.
“One of the real big shocks was no restaurants open on Saturdays for lunch because everybody is out paddle boarding and surfing,” said the executive during a recent visit to her offices, where she was sporting her characteristically zany work attire of Eckhaus Latta dip-dye jeans, a vintage band T-shirt, an Isabel Marant grunge plaid coat, sustainable Ugg Fluff Sugar sandals in a Peeps-like shade of yellow and red David Bowie socks.
The first step in rekindling desire for the brand was to develop some tactical fashion collaborations. Under her direction, Ugg gave over its classic sheepskin boot to Jeremy Scott’s embroidered flames, Phillip Lim’s utilitarian zippers and Y Project’s slouchy thigh-highs that practically broke the internet when they hit the runway at Paris Men’s Fashion Week in 2018.
“In the early days, there was a lot of internal chatter about what is she doing with the brand? She’s crazy,” Powers admitted. “But product and storytelling trumped that.”
“They were giving us a perspective on our brand we hadn’t considered before — to challenge what we stand for and how we define ourselves,” said O’Donnell of the brand’s collaborators, which recently included Chinese-born, London-based designer Feng Chen Wang, who created a technical-inspired, transformable three-in-one sandal boot.
“I wanted to collaborate to expand our brand to female consumers,” said Wang, who has been pushing her men’s wear line in a more unisex direction, of what she got creatively out of the partnership.
Ugg x Telfar will include logoed boots, as well as T-shirts and underwear, hinting at more co-branded designer apparel and accessories to come as Ugg expands its fashion reach.
The Ugg x Telfar shopping tote. Courtesy
“We like what he does, we like what his brand stands for, and also, this sense of democracy, that his brand is for everybody. That’s what we are,” said O’Donnell. (Ugg brand prices range from $58 to $1,995, with most settling in the $100 to $250 range.)
“Ugg has this ubiquity that cuts across society — which is very much our vibe,” said Clemens. “But also as a brand it is built firmly on a tangible feeling, that comes directly from the materials and construction of the product. And that is rare for any brand and a very cool entry point for a collaboration. When you see Ugg you can feel them. That’s how we wanted the bags to act, for example.”
When it comes to Ugg’s own product innovation path, the Fluff Yeah, introduced in 2018, opened up the brand to play, and gave it confidence to do more in the fashion space.
“It’s completely outrageous…and there is something about the volume that is in most of our footwear — the Classic boot is a volume play,” said O’Donnell of the marshmallow-y slingback style, which comes in taffy-stripes, tie-dye, with Warholian flower motifs, or extreme platforms. “It was how to fashion-ize slippers in our heritage materials.”
“When you look at the different swatches and colors, it’s hard not to feel like you are in a candy store,” added Helene Frein, senior design director for women’s footwear, previously at Robert Clergerie, Calvin Klein, APC and Isabel Marant.
Ugg’s Fluff Yeah style. Courtesy
“We knew we had something fun, and spent a lot of time on the name and [$100] price because we knew it didn’t fit in the categorization of footwear and that there would be a debate is it a slipper or a sandal. There are still those debates, and we have done a lot of consumer research and 50 percent of people wear them outside,” O’Donnell said.
“When we thought this could really be amazing was when accounts didn’t know where to put it. It defies classification, it’s a unicorn. And when we put them in the windows of our shops, the feedback was instantaneous. It was a diverse, younger consumer,” she said. “We now know we have something, and the conversation is, where can it go globally?”
The Fluff Yeah became an acquisition driver for other Ugg styles in the U.S., particularly among 18- to 34-year-olds.
“I don’t think we knew how to connect with that customer until we had that. Getting that product and getting it on important people’s feet in the world of fashion, that was key. And it’s very rare you get a brand worn by those people at that price point because they can choose anything. That took the momentum to the next level, of effectively free publicity,” said O’Donnell.
“Go back two to three years ago, we couldn’t get a conversation with trendy boutiques.…Now they are reaching out to us,” said Powers, adding that the Ugg formula of developing footwear product franchises, some of which could theoretically be their own stand-alone brands, is one he’s looking to replicate at Deckers and through acquisitions.
Ugg, fall 2021 Courtesy of Ugg
Ugg’s casual, freedom fashion-feeling resonates in the rtw spearheaded by Khristene Son, a Gap Inc. veteran who has been designing statement-driven spring sportswear, including “Miami Vice”-like color block windbreakers, tie-dye faux-fur jackets, balloon-sleeved crewnecks, cropped tops and biker shorts, alongside more textural, classic outerwear for fall.
“The whole design philosophy is things should be softer than they look,” she said. “It’s such an emotional part of the brand experience, slipping your foot into a perfect shoe, and we want to deliver that through apparel.”
O’Donnell has also worked hard to evolve the brand’s values, making Ugg a canvas for self-expression.
Last fall, the “Feel” campaign launched spotlighting creatives wearing Ugg, including artists Sonya Sombreuil and Fulton Leroy Washington (Mr. Wash) as part of a partnership with L.A.’s Hammer Museum, and fashion legends Iman and Talley.
André Leon Talley for Ugg in front of his White Plains, N.Y., home. Courtesy
“Coming into the business, I knew from research that we had a relatively diverse customer base.…But we weren’t expressing ourselves that way. This was the Rosie Huntington Whiteley and Tom Brady years,” she said of the former faces of Ugg.
“I didn’t think it was the right representation of the brand going forward. So we made a decision within the first year to become more diverse and more real, using real people in our campaigns. André Leon Talley is the most recent manifestation, but we shot everyone from Kim Gordon to a rap crew in L.A. to older women, because I thought, ‘California is one of the most progressive places in the world,’” said O’Donnell.
Three years ago, Ugg started being more strategic around LGBTQ Pride, and this year’s capsule collection launching May 20 will feature a range of product, from rainbow disco stripe Fluff Yeahs to tutus.
LGBTQ inclusion is a priority within Deckers, which hosts an annual Pride festival on campus, and connected Ugg to a local youth foundation to host its first Pride Prom in 2019, a tradition O’Connell hopes to take global. (Deckers brands, including Ugg, have committed to featuring 60 percent people of color, LGBTQ and diversity of body types in marketing, and the company has pledged to have 25 percent of people of color representation at the director level in the U.S. by 2027.)
“We bring kids in, do a photo shoot, kit them out and tell their story. It’s validation you get from prom and from being photographed really cute and being seen by millions on our Instagram account,” said O’Donnell. “It’s a celebration.”
A look from the Ugg 2021 Pride collection. Courtesy of Ugg
Sustainability is another business priority, although it’s a fine line to walk for a brand built on sheepskin.
“It is our heritage material and there are a lot of positive things about it; it’s a by-product of the meat industry, and if you look at both its biodegradability and its durability — our customers wear their Classics for an average of five years — the carbon footprint is really low,” said O’Donnell, explaining the brand is working with the Humane Society on “stress testing ethical protocols” and looking at ways to reduce waste by accepting more imperfections in sheepskin.
But fashion’s move away from animal products, fur especially, isn’t being ignored by the brand based in Southern California, where veganism and animal welfare are popular values, particularly among the young celebrities they are trying to court.
As a signatory to the United Nations Global Compact, Deckers is working on alternative and sustainable materials. Ugg’s The Plant Power collection launched in March with the brand’s first entirely plant-based shoes, including the Fluff Sugar flatform constructed from Tencel yarn made into faux fur with a cotton candy-like appearance, dyed using natural indigo, camellia or mulberry flowers, and a eucalyptus pulp sole.
Ugg’s Fluff Sugar flatform. Courtesy
“There’s a lot of work being done on raw materials, because 70 percent of carbon dioxide emissions come from the processing of raw materials in manufacturing,” said O’Donnell, explaining that Ugg has partnered with the Savory Institute so that by fall 2022, she hopes to launch a number of collections using regenerative farming.
“It’s about creating a brand that’s desirable but diverse, accessible but with its own fashion point of view. What we are trying to do is make people feel,” she said of her outlook. “We’re having success with it and will continue to build in that direction. I’m hoping we’ll be the next accessible luxury phenomenon.”
Fashion school students around the world are preparing to enter an industry that’s rapidly changing. There are courses to pass, design prompts to ace, runway shows to prep for and professional connections to make. And over the past year, they’ve had to navigate it all under Covid-19 restrictions. In our series, “Fashion School Diaries,” those students give us a firsthand look into their day-to-day lives. Here, we meet Benjamin Spencer, a 2021 Savannah College of Art and Design Accessory Design B.F.A. graduate.
I’m not sure if it’s too early to call Benjamin Spencer a designer to watch, considering he just graduated from SCAD, but the 24-year-old is doing some pretty remarkable things with footwear design. For his senior collection, he worked with thermochromic dyes that change color in response to temperature.
“The changing of colors represents the different emotions people feel throughout the day,” Spencer writes of the sculptural collection, which is titled “Metamorphosis” and was inspired by his own mental health struggles brought about by the pandemic.
Spencer has already been getting industry recognition. Christian Louboutin selected him as a finalist for the Hyères Festival, for which he will present in France this October. He was also one of nine out of 400 designers awarded a $15,000 grant by the Swarovski Creatives for Our Future program, which he plans to use to “continue [his] research of thermochromic dyes and how to merge them with bioplastics, grown materials and other sustainable textiles to create footwear and other products.” Finally, he won Melissa’s Melissa Next competition and is now in the process of collaborating with the Brazilian shoe brand on a product that will be sold in stores.
After presenting his collection in SCAD’s virtual student show and graduating, Spencer took some time to reflect on his early love of shoes, his years at the Georgia design school, the challenges and silver linings brought about by the pandemic and his lofty career ambitions.
“I grew up in a small farm town playing sports and being active outside. I was always interested in shoes, from collecting to drawing shoes I saw in magazines and designing my own. However, I never really thought that it was possible to go into the fashion industry, coming from a small town in Missouri. I always just thought of fashion as a hobby rather than a real career possibility.
“Before transferring to SCAD, I studied engineering at another university for two years. Engineering is considered a practical and successful job where I’m from, so I decided to pursue it. After a year of studying, though, I knew being an engineer wasn’t the career path for me. My parents started pushing me back toward my passion of designing shoes. We started looking at universities that offered accessory design as a major, and when we finally visited SCAD, I fell in love. SCAD not only offers a program that allowed me to study footwear design, but the program also taught pattern making and sample-making, which is something that many of the other universities didn’t This is how I knew that SCAD was the place for me.
“From my time at SCAD, what I will remember most are the relationships I built, both with my professors (who I know will encourage and support me even after graduation, and I plan on staying in touch with throughout my career) and with my peers, whether through friendships or being a part of the same industry. I see myself staying in touch with many of the people that I met and collaborated with during my time at SCAD and I hope we will work together again as we embark on our careers in the industry.
“When designing, I always start with a story. What story do I want the product to tell, or how do I want the consumer to feel when they first see the product and then wear it? After I create the story behind the piece, I start researching silhouettes that will help to tell the story best. The story and silhouette research generally lead me into what type of textile development will be used on the shoe. However, the order of all of these steps are interchangeable and sometimes will change depending on what type of inspiration is coming to me in the moment.
“As many know, the pandemic caused everyone to take a step back and reevaluate the important things in life. It also caused us to reevaluate how we work and the restraints we had been placing on ourselves, whether that was needing an office to go into or thinking that the only way to make shoes was by having a sewing machine and a bunch of industrial equipment. The pandemic allowed us to journey back to when we were children and all we had was our imagination to let us run wild.
“The pandemic also impacted internships that would have occurred during the summer of 2020 and the vital experience that students would have gained. I had been accepted to intern with Ralph Lauren, but due to the pandemic the internship was adjusted to be virtual. I gained so much from the experience, even though it was virtual, and feel honored to have had the opportunity to work with the Ralph Lauren design team. But since I was at home, it gave me the time to search for other ways to be creative and focus on my designs. I ended up setting up a studio in my garage with one of my best friends, as well as working for a start-up company focused on making protective head coverings.
“I also embraced the challenges of not having access to a sewing machine and the typical equipment necessary to produce shoes. I used this time to experiment with different methods of making shoes using two- and three-part molding techniques.
“Over the last year, the biggest challenges for me were mental health, the loss of loved ones and feelings of uncertainty brought on by the pandemic. When researching my concept for my senior collection, I knew I wanted it to be relevant to what was currently occurring in the world. I toyed with different ideas surrounding the pandemic, but the story that felt most natural and closest to my heart focused on the conversation of mental health. Mental health is something that I have struggled with throughout my life and something that I have always hid and been ashamed of. By creating a collection solely focused on the study of mental health and the changing of emotions, it not only gave me a platform to bring awareness to different aspects of mental health, but it was also very therapeutic, allowing me to feel more comfortable speaking about my own struggles.
“My senior collection is titled ‘Metamorphosis.’ ‘Metamorphosis’ is a reflection of the rise in mental health issues that have occurred due to the pandemic, loss of loved ones, seclusion and financial instability. The collection takes inspiration from different animals’ physical characteristics and how they change in regard to the emotions they are feeling. Thermochromic dye is used throughout — they allow the color of each shoe to change in relation to the temperature of the environment the shoe is in. The changing of colors represents the different emotions people feel throughout the day. ‘Metamorphosis’ is meant to question what is truly ‘normal’ and let people know it’s okay if they feel like they’re different, because being different is what makes each and every one of us special.
“After developing a concept I felt strongly about, I knew the main focus of my collection would be on innovation in textile development. I wanted my materials to reflect different animals’ textures and I knew I wouldn’t be able to achieve this using traditional materials. I spoke a great deal with my professor, Michael Mack, and a fibers senior, Kathryn Sours, about different materials that could potentially be used to achieve the effects I was looking for. From there, I worked to create dozens of material swatches using liquid rubber, resin, leather, thermochromic dyes and pretty much anything I could get my hands on until I had a core of materials I felt strongly about.
“After deciding what type of textile development I was going to use, I began creating silhouettes. The process that I used was much different than previous processes, because I was focused on creating brand-new silhouettes. My goal was to create shoes that were wearable, but made people question what the parameters of a shoe could actually be. I began focusing on merging different objects together, such as crystals and a human heart or jellyfish and a teapot, to create brand-new silhouettes.
“Because of the experimentation I was doing with my silhouettes and textile development, there was a lot of trial and error involved in the creation of my collection. There wasn’t a single shoe where everything went perfectly according to plan, but that made the process exciting.
“When creating the initial concept for my collection I was really focused on how I would be able to present the collection to showcase the color transformation of the shoes and tie the theme of changing emotions together. I knew I wanted to have a video or a live art installation; however, with the pandemic, I decided to solely use video to portray the collection. I partnered with a few SCAD students to help me showcase my final collection: Malia Acuri (B.F.A., fashion merchandising, 2021), who art directed the collection shoots, and Melissa Chilson (B.F.A., film and television, 2021). In collaborating with Malia and Melissa, I was able to bring the vision behind the collection to life. SCAD has really taught me to value cross-disciplinary collaboration, and my openness to work with other students to showcase my collection made the presentation all the more impactful.
“It was always exciting for me getting to show my peers and professors the thermochromic dyes in use for the first time. Seeing a shoe completely change colors in front of your eyes is not something that many people have seen before, so there would always be lots of confusion and excitement on their faces.
“Now that I’m done, I’m proud of how my collection turned out. There will always be ways to improve upon it, but I’m excited to see how I can move forward with everything I learned at SCAD.
“I’m very excited to display my work in SCAD FASHION 2021. By displaying my collection virtually, the possibility increases that people all over the world will see my work. This allows for greater access and visibility, so that brands and other designers can view my work.
“Being recognized by two prestigious organizations such as the International Festival of Fashion (Hyères Festival) and the Swarovski Creatives for Our Future Program has been a great honor for me, and I couldn’t have done it without the support of my professors at SCAD who encouraged me to submit my designs for these global competitions and championed me along the way.
“After graduation, I plan on focusing my time toward working on the Swarovski Creatives for Our Future Grant and the Melissa collaboration. I will also be dedicating time to building my brand, Thomas Benjamin, and my first collection that I plan to release in 2022. I’m also searching for a full-time design position within the luxury fashion industry.
“When speaking about where I see myself in the future or my ultimate career goals, people always tell me that my head is in the clouds. When I tell them that one day, I will be the creative director of one of the top French fashion houses, they tell me, ‘But you study footwear design.’ When I tell them that one day The House of Thomas Benjamin will continue on for generations to come, they laugh or act like I’m crazy. But what those people don’t see are the hours and hours spent working on my craft and the dedication I had to learning from the very best professors and mentors at SCAD. I grow each and every day, always push myself and am never okay with where I am – I always strive for more and to be more. These goals I have for myself aren’t going to happen overnight and there are also many smaller steps I must take before I can get to the finish line, but one thing I always have known is that when someone says I can’t achieve something it pushes me even harder. Some would say my self-belief is naïve, but to those people I say: You can’t achieve if you don’t believe.”
By Megan Reedlinger June 8, 2021, 5:22 AM Pacific Time
The CMT Music Awards have always provided memorable fashion moments. In honor of the 2021 show on June 9th, Wonderwall.com revisits what we’ll never forget … starting with this classic look … Taylor Swift’s style has evolved dramatically since then. But do you remember when she was drawn to a fairy-tale-inspired look ?? A country-turned pop singer-songwriter was decorated with strapless sequins at the 2007 CMT Music Awards. Wearing a fairy tale, you will be here. It was Taylor before fashion evolved to wear the signature ringlet of the time! Continue reading to see the style of the CMT Music Awards, which has been more memorable for many years …
Related: Best Photos of 2020 CMT Music Awards
Dierks Bentley dressed up like a pilot at the 2014 CMT Music Awards, riding on the success of the hit “Drunk on a Plane”. We love good costumes!
Related: Country Music Star Wives
Expected singer Mickey Guyton didn’t get enough of this translucent glowing gown on the red carpet at the 2020 CMT Music Awards. She welcomed her first child, son Grayson Savoy, a few months later in February 2021.
Carrie Underwood looked perfect in this colorful dress that showed off her toned legs at the 2016 CMT Music Awards.
“Modern Family” star Sarah Hyland attends the 2020 CMT Music Awards. — With bold and adorable coordination by Georges Hobeika. From stunning baby pink short-sleeved crop tops to cutout-covered lilac skirts and ridiculous black ribbons, this is one of the unforgettable looks.
Can she be more chic? At the 2015 CMT Music Awards, Nicole Kidman chose this head-to-toe look by Balenciaga. I don’t know what we like more, such as the decoration of her peplum top or the perfect fit of her cigarette pants. This was the winner of our book!
Let’s talk about cute couples! Maren Morris and her husband and singer-songwriter Ryan Hard have appeared on the red carpet with a look coordinated at the 2019 CMT Music Awards. Maren wore a Faust Puglizi edgy cream mini dress, featuring a cutout and gold decoration around the abdomen, and Ryan a cream suit with a burnt orange button-up. I chose.
Kristen Bell, who moderated the 2012 CMT Music Awards, wore this Reem Acra Fall ’12 gown decorated with gold sequins.
You may not notice her, but yes, this is really a vintage Miley Cyrus! The star, then 15 years old, attended the 2008 CMT Music Awards and never chose today. I was hiding in a floral dress.
Baby hump and Thomas Rhett? What more do you want! Country Crooner embraced his wife Lauren Akins’ grown-up belly at the 2017 CMT Music Awards. The event took place one month after adoption and just two months before Lauren gave birth.
Remembering doesn’t always mean good, right? Billy Ray Cyrus shocked us all when we unveiled this terrifying hairstyle at the 2016 CMT Music Awards. There is no excuse for this bad choice …
Kacey Musgraves has become casual at the 2013 CMT Music Awards. The singer-songwriter wore a daisy duke, an American flag tank, a denim jacket, and unique blue cowboy boots.
If you live in GTL, you don’t need a shirt on the red carpet! I wonder why he was there, but “Jersey Shore” star Mike “Situation” Sorrentino attended the 2010 CMT Music Awards in his own style.
Let’s talk about throwback! Blake Shelton wore a gray shirt under her vest to complement Miranda Lambert’s silver sequin dress at the 2010 CMT Music Awards.
Kid Rock appeared at the 2011 CMT Music Awards with a must-have trucker hat, jeans and T-shirt. His red, white and blue buttondowns (snapdowns?) Were also prepared to express further patriotism in country music Cindig.
Who wore it better? Reba McEntire and Kenan Thompson matched with a green flock at the 2010 CMT Music Awards!
Michelle Monaghan has added heat to the 2019 CMT Music Awards with a statement black leather and red suede look from Dundas’ Fall 2019 collection. To complete her fiery look, the actress put on accessories with Eddie Parker’s red clutch and Giuseppe Zanotti’s black heel sandals.
But that shirt! Jake Owen unveiled this floral button-up at the 2010 CMT Music Awards.
Gina Garsion became full denim at the 2005 CMT Music Awards in a zippered jumpsuit with a metallic concho belt and a leather and feather bag.
Taylor Swift played “Red” at the 2013 CMT Music Awards. The country star of the time sang on a red guitar, wearing flowing frocks over small black shorts designed by Joseph Cassel. She also added black La Duca boots on the heels for a pretty important moment on stage.
Snoop goes to the country! Snoop Dogg made the best impression as a cowboy at the 2008 CMT Music Awards, wearing a 10-gallon hat, button-up shirt and dark duster coat.
In 2017, when Carrie Underwood sparkled with this glittering sweet mini dress from Elie Madi, one of her favorite things at the CMT Music Awards happened. I like the iridescent sparkle of the frilled skirt and the sparkling details of the long sleeves on the top half of the frills. She perfected her looks with strap heels and a cool messy ponytail.
Taylor Swift has made our list again … and of course! Before she moved to pop music, Country Darling was at the 2007 CMT Music Awards in a worm-colored gown with a dramatic train. Appeared in a gown. Of course, she completed the look with the signature ringlet of the time!
We love these good baby bump moments at the 2017 CMT Music Awards. Pregnant Brittany Kerr emphasized her growing curve with a black studded fringed gown, and her husband Jason Aldean dressed casually in jeans, a T-shirt and a button-down shirt.
Hillary Scott showed off her curves at the 2014 CMT Music Awards in this cute black and white striped dress with red flowers. That thin black belt was a nice touch!
This ensemble, worn by Nicole Kidman at the 2011 CMT Music Awards, plagued our heads: from the skin-colored slips under the dark sheath to the unfit green bodice, clashing. Everything was unlucky, up to the Periwinkle sandals. Keith Urban, on the other hand, looked like a typical great self in a suit in a casual unbuttoned shirt.
vision! At the 2012 CMT Music Awards, Jordin Sparks was impressed with this pink chiffon dress by Kevan Hall. From the waist to the delicate off-shoulder sleeves, Jordin looked incredibly romantic.
At the 2015 CMT Music Awards, Danielle Bradbery made a considerable statement in a bold beaded metallic mini dress. She completed the intricate gold look with pulled back ponytails, smoky eyes and neutral sandals.
Kristen Bell hosted the 2014 CMT Music Awards, and that night the actress wore several different outfits, which is The gorgeous strapless black dress with delicate silver details by Monique Lhuillier definitely stood out.
Nico Tortorella takes bad fashion to the next level at the 2018 CMT Music Awards. The “young” star appeared in this tan velvet suit-without a shirt, and in a cowboy hat. He also looked like a pukashell necklace layered with other necklaces, and shiny black. Added a pair of boots.
Shania Twain looked amazing in a black dress that fits her body at the 2011 CMT Music Awards.
Three award-winning Kelsea Ballerini, including the Night’s Video of the Year at the 2020 CMT Music Awards, turned her head in this shimmering silver mini dress. The huge sleeves seemed a little overwhelming, but she definitely made a statement!
“Pitch Perfect” actressBrittany Snow, who co-sponsored the 2015 CMT Music Awards with Erin Andrews, was on the red carpet for the movie. Structured black and white gown by Monique Luillier. Combined with her side-swept hair, pink lips and sandals with black straps, Brittany looked chic.
We worship Kane Brown, but his view at the 2018 CMT Music Awards was terribly overwhelming. He appeared in a Canadian black tie. He paired a denim jacket with torn jeans. He then added a black T-shirt and gray sneakers, which made him a little too casual to set up the award show.
When Gretchen Wilson appeared at the 2006 CMT Music Awards, she wasn’t just starring. She has arrived. The country star swept the red carpet with this tiny, glittering crop top, paired with torn jeans and a studded belt.
At the 2019 CMT Music Awards, Sheryl Crow unveiled a super-bohemian coordinated look that we loved. From the subtle decoration of her floor-length skirt to the overall color palette of the ensemble, Cheryl looked like a beach goddess at the awards ceremony.
Jana Kramer wore this Michael Costello gown and soaked the red carpet in the pink sea at the 2014 CMT Music Awards.
I still remember Taylor Swift’s azuki mini dress at the 2010 CMT Music Awards. Up-and-coming country stars of the time wore this stylish John Galliano Flock for the Big Show, paired with matching strap heels and smooth straight hairstyles.
Major color pop! Cassadee Pope wore this Theia combo (a full, bright pink skirt paired with a crop top with a similarly flashy pattern) at the 2014 CMT Music Awards.
Remember when graphic prints were considered a mega-on trend? LeAnn Rimes! At the 2010 CMT Music Awards, LeAnn chose this geometrically patterned strapless blue dress. She completed the look with statement earrings that matched the thick gold cuffs.
A tank top with a duck pattern? Yes, certainly, there aren’t many red carpet events where this is within the reach. Brantley Gilbert wore jeans and boots at the 2014 CMT Music Awards.
RaeLynn has always offered whimsical and fun fashion, and dresses at the 2014 CMT Music Awards were no exception. The country singer rocked a pale mint tutu dress and bright yellow shoes for a big event.
This lingerie-like mini-dress style was popular in the late 2000s, and Sarah Evans moved away from the usual style and locked this slinky purple number at the 2008 CMT Music Awards.
Remember when Carrie Underwood appeared at the 2010 CMT Music Awards? We were definitely disappointed with the hot pink shades and black connection decorations.
Faith Hill unveiled Gothic Glamor at the 2008 CMT Music Awards. The country queen was all black and shiny at the festival of the year.
Hillary Scott made the gray carpet stare at the 2017 CMT Music Awards. We featured Lady Antevelum singer’s black gowns dotted with multicolored stars and moon, long sleeves and thigh-high slits. She used Swarovski drop earrings as an accessory. , Made one of the coolest looks of the year.
Just as Mike “Situation” Sorrentino was confused about appearing at the 2010 CMT Music Awards, we were confused by the appearance of Nicole “Snuki” Polizzi on the red carpet that same year. The “Jersey Shore” star rocked a glittering mini dress and her trademark pouf at a country event. We didn’t know these “shore” kids were crazy about country music. did.
Karen Fairchild in Little Big Town wore this pale blue mini dress and looked like an absolute vision at the 2020 CMT Music Awards. What did we especially like? The draping details are gorgeous!
Kelsea Ballerini has chosen to add a new twist to the style of the 2018 CMT Music Awards crop top and pair it with Brandon Maxwell’s wide leg pants to lock the glittering spaghetti strap top. We loved the unique interpretation of the two-piece trend, but could have lived without the addition of weird trains.
Lauren Alaina was impressed with this magenta Theia design at the 2017 CMT Music Awards. We loved the smooth off-shoulder cuts and the distinctive colors that matched the carpet!
At the 2006 CMT Music Awards, Lisa Rinna appeared on the red carpet with this sultry turquoise number. From satin to steep halter necklines, this gown was definitely a show stopper.
Singer-songwriter Jenny Tolman appeared on the red carpet at the 2019 CMT Music Awards and looked like a graceful princess in this stunning floor-length one-shoulder dress. From voluminous layers to a cream and light pink color palette, Jenny looked like a dream.
I’m not sure what Elizabeth Cook was aiming for at the 2010 CMT Music Awards. The singer wore jeans and a tank top on the red carpet, but was covered with a large coat to accentuate the printed lining on the inside.
Actress Kate Bosworth attended the 2019 CMT Music Awards in a mermaid-inspired teal sequined gown. That same year, she starred as an unhappy housewife in a “Sugar Court” video from Little Big Town, which hosted the show that year.
Impressive Looks at the CMT Music Awards-Crazy, Wacky and Exorbitant Fashion | Gallery
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