The industry is estimated to have produced around 2.1bn tonnes of greenhouse gases in 2018 alone – the equivalent to the combined emissions of France, Germany and the UK
A cross-party group of MPs has continued to probe how the UK fashion industry is implementing initiatives to drive sustainability and improve its social impact – with executives from Primark and the Waste & Resources Action Programme (WRAP) the latest to take part in the Environmental Audit Committee’s Fixing Fashion session.
An earlier investigation heard how the industry is estimated to have produced around 2.1bn tonnes of greenhouse gases in 2018 alone; the equivalent to the combined emissions of France, Germany and the UK. Major contributors included fast fashion, with UK citizens believed to buy more new clothes than any other European country, and throwing away over a million tonnes of clothing every year.
Beyond this the update looked at the social impact of the sector, exploring how brands including Primark have addressed issues concerning the workers in their supply chains linked to Myanmar, where civil unrest is ongoing; in Bangladesh, which is still reeling from the effects of Covid-19 and earlier order cancellations; and Xinjiang in China, which has been linked to forced labour concerns.
Below are the key talking points from the session.
The launch of Textiles 2030
The Waste & Resources Action Programme (WRAP) recently launched a ten-year voluntary clothing and textile waste programme to try to slash the environmental impact of UK clothing and home fabrics through practical interventions along the entire textiles chain.
First mooted in November, it has managed to secure 68 signatories – including Asos, Boohoo, JD Sports, John Lewis, M&S, New Look, Next, Primark, Sainsbury’s, Ted Baker and Tesco – that account for around 60% of the UK clothing market share by volume.
“The goal is to transform the industry for our planet. We really want to show that the industry can build back better and greener” – Catherine Salvage
“The goal is to transform the industry for our planet. The agreements are going to bring together organisations from across the textile value chain to make progress on climate action and to move to a more circular use of products and materials. We really want to show that the industry can build back better and greener,” explained Catherine Salvage, sustainable textiles – sector specialist at WRAP.
“This is a world-leading initiative and British brands can have a really competitive edge by being part of this initiative and leading the way on sustainable fashion,” she said, adding that building the previous initiative, SCAP (Sustainable Clothing Action Plan), the move is “sufficient to put the UK textile sector on a path consistent with limiting global warming to 1.5 degrees in line with the Paris Agreement on Climate Change and achieving net-zero by 2050 at the latest.”
Naturally, attention was diverted to the 40% that have not yet signed up.
Salvage said given the initiative had just launched, the signatories representing 60% of UK market share was “really positive.” She added a “tough year for retail” could explain the delay in onboarding the remaining 40%.
What is helping grow uptake is potential government policy and legislation, with plans to mandate climate-related financial disclosures. “They’re going to go hand in hand…it will obviously be stronger if we have some kind of policy and legislation behind circularity as well.”
Primark: Sustainable value?
Primark has long been a target for criticism surrounding the price-point of its products, with many arguing its cheap prices fuel the throwaway fashion trend.
Katherine Stewart, corporate responsibility lead at Primark, reiterated the retailer sells “affordable product that is designed to last.”
“We do have a big focus on durability in terms of the products that we are producing. The key thing about durability is the way the products are designed; materials that we use, how clothes are cared for and washed, and we hope that our customers will wear them for a long time. Bearing in mind those steps we’ve put a lot of effort into thinking about design and how we can make sure that we’re trying to build durability into the clothes right from the outset, but equally starting to think about how clothes can be recycled.”
She also pointed to how the retailer has been including “a lot more recycled content” in its product, whether polyester or nylon and more recently sustainable cotton.
“We want to have transparency down the supply chain both in terms of garment production but also in terms of the social standards through that recycling chain” – Katherine Stewart
“There’s more work to be done. In terms of waste, we’re looking at not only the end of life aspect of it but also what happens in terms of waste in the production process. Anybody that’s done any dressmaking will know that there are offcuts. What we can do with those? That’s become a focus for us, but equally we now have recycling units in all our stores – it took us quite a lot of time to build a model that we felt was right.
“We want to have transparency down the supply chain both in terms of garment production but also in terms of the social standards through that recycling chain. We wanted to uphold the standards that we have for our factories, so it took us a little bit more time than we would like but we rolled those units out to all of our stores in the UK this year and will continue to roll out into other countries.”
Primark is working with a recycler called Yellow Octopus, which allows it to look at what can be reused and what can be repurposed. Longer-term, its ambition is to support the technology that handles clothing waste.
The retailer is one of the signatories to Textiles 2030, and one MP commented it had signed up to some “challenging targets” – including halving emissions and shifting towards a circular business model.
Stewart said she was encouraged by the drive of the buying team, which is very much “behind the work” Primark is trying to do.
She was asked if this might mark the end of the GBP2 T-shirt?
“We are absolutely adamant that we’ve stood for offering value to our customers, and for many of our customers Primark is an important part of how they can afford to clothe themselves and their families.
“It is possible to deliver great value product that’s sustainable and, from the business point of view, the cotton programme that we started in 2013 was set up with that in mind. Key things were full traceability down the supply chain, which was critical so that we could stand up claims we were making and measure progress. Unless you understand your supply chain, it’s not possible to measure some of the impacts.
“The second thing was that we wanted to continue to deliver great value to customers and reduce the environmental footprint for improved livelihoods, so we actually set up a model slightly different from other common initiatives. That meant working with the farmers who go through a three-year programme that helps them understand how to grow more with less. Specifically, less use of chemical pesticides and fertilisers, less use of water, and through improved agricultural techniques the yield that they’re getting is significant so their livelihoods are impacted directly. We saw increases in income for those farmers of upwards of 200%, which is substantive. And we can still do that at the same price, so we’re able to maintain the value to the customer as well.”
The panel was somewhat disappointed to hear of limited progress on tackling microfibre pollution.
Salvage said WRAP was hoping to work more closely with initiatives and organisations researching the issue, such as The Microfibre Consortium. She also pointed to part of the problem being a lack of funding.
“It’s on our radar – it’s not something we are going to forget about and we plan to work with The Microfibre Consortium to ensure we align with their roadmap and feed into what they are doing. In terms of what the government could do, funding for that research so the information is publicly available and so we can share information more easily, would help.”
Transparency and traceability
Because Textiles 2030 is a self-reporting initiative, one of the key questions is what verification is in place to check the bolder claims that are being made?
Salvage asserted the claims would have to be backed up by the various certifications that exist. For example, if a brand claimed to be using organic cotton from the Better Cotton Initiative (BCI), the certification would need to be shown as proof.
“Also, a lot of our brands and retailers employ external auditors to make sure that they are submitting the correct data. There isn’t really an incentive for signatories to falsify their results and their data because we don’t report individual signature data publicly. For those brands and retailers to get the most out of their membership and the most out of their membership fee, to be able to measure correctly is really important to see where they need to progress.
“If brands and retailers don’t report correct data, there could be real consequences for them if that does come out. Consumers now are a lot more aware” – Catherine Salvage
“I guess the other area is around the consumer perception of those brands and greenwashing issues. If brands and retailers don’t report correct data, there could be real consequences for them if that does come out. Consumers now are a lot more aware, so to get the most out of this agreement there isn’t really an incentive for them to not report the correct data.
“When signatories sign up to Textiles 2030, they are committed to building transparency and visibility into their supply chains – that is one of the requirements that we’ve added into Textiles 2030 that wasn’t in SCAP. To create this circular economy we do need transparency of supply chains. That’s going to help us build more resilient supply chains.”
Extended Producer Responsibility
The government is presently weighing an Extended Producer Responsibility (EPR) scheme, which would ensure the industry contributes to the costs of recycling, supported by measures to encourage better design and labelling. This will help to boost the reuse and recycling of textiles and reduce the environmental footprint of the sector.
But how could an EPR be designed in a way that supports responsible retailers in the transition to sustainability?
Stewart said many brands and retailers are showing a willingness to get behind initiatives like recycling units. But the gap lies in how to support the infrastructure sitting behind it to be able to successfully do it at scale. “We need to know how to support infrastructure that allows it to actually scale-up, and the technologies; at the moment it is all quite manual. That’s where we believe the focus needs to be.
She added the EPR needed to be designed in a way that supports cross-sectoral collaboration. “We would hope that an EPR scheme would focus on carbon emissions and circularity, which are two main focus points for Textiles 2030, and that it would be a clear financial driver for investment in more circular systems.
“We need this EPR funding to encourage innovation in the recycling sector and the investment that we need in the recycling sector, but also that it promotes changes in the impacts that clothing has across its whole life cycle.
“That would promote changes in the design process, making those garments more durable, or if it’s making garments recyclable, again making changes to design. Incentivising the use of recycled content is going to be really key, and then also incentivising these business models and circular business models so they are on more of a level playing field.”
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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