Aficionados of the beloved series “RuPaul’s Drag Race” are treated to a high-fashion runway spectacle weekly, which made its way to the Emmys on Sunday.
Vying for a consecutive victory in the ‘Outstanding Reality Competition Program’ category among ten other nominations, each member of the 14-person cast showcased a look crafted by an independent designer.
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Hershii LiqCour-Jeté
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The first eliminated contestant, Hershii LiqCour-Jeté, donned a chocolate velvet gown adorned with golden appliqués crafted by LaBling by Vontez. Hershii was deliberate in her choice of designer, honoring her St. Louis roots, in what she described as her final “Drag Race” appearance.
The fabric’s embrace of Hershii’s curves and its movement on the red carpet was so compelling, it was surprising to learn that there had been a last minute change to the look.
“The horns that were on the front, I kind of curled them over because they were flapping all over the place,” Hershii said. “I was supposed to have a breastplate but the breastplate didn’t get here on time.”
Complete with an updo by Gee L. Walton, this classic red carpet ensemble harks back to the traditional pageantry of the drag community, countering the recent minimalist trend.
“I wanted to bring drag to the Emmys […] I want to get back to big drag. Big hair. Big dresses. No room for anything. Unnecessarily large,” Hershii said.
Mirage
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Mirage emerged as one of the standout stars of Season 16, captivating audiences with her performance of “She’s Such a Bitch” during the talent show of the first episode. Mirage described her style humorously as “very colorful, kind of like a stripper who shops at Claire’s.” Yet, this Las Vegas showgirl has since evolved her aesthetic.
With Mirage donning a green gown accentuated by nude panels and strategically placed rhinestones that highlighted her svelte figure, this look was expertly executed. The green appliqués that extended from her dress to her gray wig, creating a seamless visual connection. The integration of couture hair has become a pervasive trend across LGBTQ+ nightlife, and Mirage delivered a masterclass in its application.
Complemented by matching green earrings and beaded fringe, Mirage demonstrated that Sin City continues to produce some of the most luminous talents to grace the show.
Amanda Tori Meating
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If there’s a “Drag Race” transformation worthy of analysis, it’s Amanda Tori Meating’s evolution. Over the past year, Amanda has shown significant improvement in her makeup skills, a journey that deserves recognition.
Amanda’s ensemble seemed to echo her “Ruveal Yourself” runway look, matured and refined. She wore a purple gown by independent designer Andrew Shields, elegantly complemented by a lime green ostrich feather boa — a striking choice that highlighted her silhouette perfectly. The gown featured a plunging neckline and a sharply pointed bodice, enhancing her figure. The lime green detailing at her waist and the feathers in her hair, which she crafted herself, cohesively tied the look together.
However, if there’s one aspect that felt slightly discordant, it was the wig by Bitchcraft. While the wig itself was flawlessly constructed, the gray color choice seemed misplaced against the vibrant purple and lime green, a somewhat muddled palette that detracted from the overall impact of the outfit. Nevertheless, the night was undoubtedly a success for Amanda, showcasing her continued growth and resilience in the face of critique.
Geneva Karr
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Geneva Karr’s most acclaimed looks and acts have paid tribute to her Mexican heritage, reflecting her upbringing in Brownsville, Texas, along the U.S.-Mexico border. At the Emmys, Geneva had much to demonstrate, yet her red carpet look left something to be desired.
While Geneva’s overall silhouette was visually appealing and her vision clear, the choice of gold in her garment was slightly amiss, photographing weakly (the gold she opted for was a true metallic, which runs the risk of casting undesirable green undertones). The gown, designed by Texas’s own Rico Cavalli, included black ruffles around the waistline — a perplexing addition. A more cinched waist without the ruffles might have accentuated her stunning hourglass figure more.
The rhinestones on her gloves fragmented the outfit’s cohesion. Had they matched those on the dress, it could have unified the look. Instead, they appeared disjointed, as if drawn from disparate visions. However, it’s worth noting that Geneva’s makeup was impeccably done, and she looked striking with her reddish-brown slicked-back wig.
Megami
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A queen who daringly toggles between homage and innovation, Megami stepped onto the Emmys red carpet channeling Lydia (most recently, Winona Ryder) from the 1988 film “Beetlejuice” — albeit with a twist. Megami’s affinity for cosplay made her choice to adopt this theme unsurprising. However, the execution was, regrettably, less than stellar. Her reinterpretation involved a slit in the dress to reveal classic Beetlejuice-esque black and white pin stripes — an addition that felt forced. This was particularly evident in the incongruent pairing with red shoes.
The dress itself — crafted by designer Whitney Newman — was impeccably constructed. Yet, it was the deviation from the iconic look where the concept faltered.
Reimagining cosplay through a high-fashion lens is a delicate endeavor. Here, simply adding black and white pants beneath was insufficient. The issue does not lie with the designer or Megami, but rather with the creative direction of translating cosplay to the red carpet.
Nonetheless, accolades are due for Megami’s flawless makeup and the exquisite wig styled by fellow NYC drag artist and wigstress, Maddelynn Hatter. As Megami continues to navigate her path in drag, focusing on refining her references could help her avoid the pitfall of being deemed “too referential.”
Xunami Muse
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Xunami Muse’s, the drag daughter of Season 13 and All Stars 8 runner-up Kandy Muse, journey on the show was marked by consistently being placed as “safe” — neither a standout nor underperforming — until her elimination. Unfortunately, this trend seemed to persist at the Emmys.
Adorned in a “Revenge Dress” style gown in red from the fashion brand Noid, her look felt somewhat plain compared to her peers. While the Emmys often celebrate classic beauty, and Xunami’s makeup beautifully aligned with this theme, one could argue she might have ventured further.
Even the wig, styled by L.A. drag queen Miss Kendoll, appeared to need more attention, possibly requiring additional wig glue to maintain seamless sideburns and lace. One thing is undeniable, though — Xunami’s “face card” remains strong.
Plasma
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Plasma hails from the vibrant streets of NYC with a background in classical Broadway training. On Sunday, she channeled Marilyn Monroe with a classic blonde wig. She collaborated with LizDress, a company known for recreating iconic movie and celebrity dresses at affordable prices, to replicate Monroe’s gown from “There’s No Business Like Show Business.”
The gown mirrored the original with its dramatic flair, featuring a square neckline, a snugly fitted bodice and a fluted bottom transitioning into an ombre of blues. The gown’s embellishments were a joint effort with castmate Dawn, Megami and Plasma herself, resulting in an impeccable presentation.
While some might critique the gown for lacking originality due to its replicative nature, wearing a replica to the Emmys was a heartfelt recognition of her inspirations. Additionally, the accessories provided by Robert Sorrell, meticulously replicated to match Monroe’s, were a standout on the red carpet.
Mhi’ya Iman Le’Paige
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Mhi’ya Iman Le’Paige’s memorable entrance line, “She doesn’t set the bar; she flips it,” perfectly encapsulated her performance ethos, and it was a sentiment she lived up to at the Emmys.
For the evening, Mhi’ya opted for a stunning velvet gown in black, designed by Leonardo Alvarez, which gracefully highlighted her figure. The pairing of black with white crystal rhinestones exuded a luxurious aura. The only minor critique would be the asymmetry in the embellishments, possibly a result of the delicate nature of the garment during transport. The gown elongated Mhi’ya’s stature, an essential feature as she is comparatively shorter.
However, the true showstopper of the night was her hairstyle, crafted by Wigs by Hassoon. This is the same striking hairpiece she donned for the Season 16 finale. While repeating wigs and outfits for major events is typically frowned upon, this hairpiece is an exception; if it isn’t broken, indeed, why fix it?
Dawn
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Is she a sweetheart or the secret villain of Season 16? It scarcely matters, as she remains unequivocally one of the fashion icons. Wearing her signature elf ears and sporting a pink skin tone, Dawn appeared not just of another era but from another world altogether.
Her presence guarantees something visually striking and inventively conceived, never just for shock value but always imbued with clear intentionality. Her keen eye for aesthetics was on full display on Sunday. Donning a gown she designed, crafted by NYC costume designer Beck Jones, the gown was nothing short of magnificent, tailored flawlessly to her form.
The artful incorporation of fur and feathers not only on the gown but extended to the nails, neck and hair was sheer genius. The color coordination of blue and pink enhanced the visual allure, making it a captivating spectacle. Complemented by a hairpiece styled by Southern California drag queen Misty G. Quartz, this queen’s appearance was a dawn of a new era for drag on the red carpet.
Morphine Love Dion
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Morphine Love Dion, the BBL Queen, the Mug of Season 16 and the Lip Sync Assassin, has a litany of titles that speak volumes to her indelible impact on the show. Striding into the Emmys, Morphine was on a mission to dazzle — and she did.
Dressed in a gown by Mulan Gabby, with hair styled by Thomas Mata and adorned with jewelry by Reikolyn, Morphine’s ensemble was the epitome of drag excellence. The puffed sleeves lent her arms a delicate appearance and her braided ponytail elegantly draped in front of the gown added a touch of grace.
One simply cannot overlook Morphine’s makeup artistry. She knows precisely how to paint for daylight and for the relentless flash of paparazzi cameras — a skill that not only enhances her visual appeal but also her presence on the red carpet.
Morphine’s display at the Emmys signals the rise of a potential future winner and even in group photos, her castmates seemed merely to complement her standout presence.
Q
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At the Emmys, where the typical expectation involves designers showcasing their work through celebrity clients, Q took a different route. She presented her own designs, embodying both the creator and the muse on the red carpet — a bold and somewhat risky endeavor that highlighted her dedication to her craft. This move paid off, displaying her clear understanding and execution of high fashion.
The ensemble she chose lacked notable flaws. From the precision of her eyeliner and the style of her hair to her selection of jewelry, every element was harmoniously integrated. The design of the garment itself, particularly the unique red and white fabric that was sculpted around her hips, was a testament to her ability to enhance and celebrate shape, making a striking visual statement.
Plane Jane
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I have nothing to say about this look other than kudos for wearing that, for serving. They could never make me hate you, Plane Jane.
Sapphira Cristál
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Sapphira is undeniably a multifaceted queen — excelling in fashion, singing, acting, delivering comedic one-liners, dancing and performing. With such a stellar track record on the runway, expectations are invariably high. However, her latest appearance felt like a rare miss.
While the brown quilted fabric of her gown, designed by OminousBreakfast, was undoubtedly cozy and well-constructed, it simply didn’t captivate. It lacked the excitement we’ve come to anticipate from Sapphira. The addition of mundane black gloves and shoes, coupled with minimal accessorizing, didn’t elevate the look.
Nevertheless, comfort is something, and Sapphira looked effortlessly at ease on the red carpet — no small feat in itself.
Nymphia Wind
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As the first East Asian winner of “RuPaul’s Drag Race,” the expectations for Nymphia are exceedingly high. Her recent Emmys appearance received mixed reviews. While some fans were underwhelmed, viewing the ensemble as a letdown, it paradoxically serves as the ultimate expression of Nymphia’s drag persona — unexpected, yet fittingly on-brand.
Nymphia’s banana-themed outfit, a direct extension of her recurring motif throughout the season, strikes a balance between cartoonish whimsy and runway glamor. Her presentation resonates as a clever, if not poetic, commentary on the nature of drag itself — fun, irreverent and not to be taken too seriously.
The banana peel outfit, masterfully crafted by NYC-based designer Terrence Zhou, was not just a costume but a statement piece.For Nymphia, this bold, tongue-in-cheek display aligns seamlessly with her public persona and the narrative she’s cultivated.
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Despite not clinching the award for ‘Outstanding Reality Program’ at the Emmys, Season 16 of “RuPaul’s Drag Race” affirmed that drag queens are an essential and dazzling part of the red carpet landscape. Their presence challenges traditional norms and expectations, showcasing that fashion doesn’t need to conform to conventional standards of glamor.
This shift towards more expressive and individualistic presentations on the red carpet is not just about aesthetics but is also a broader commentary on creativity and self-expression in tumultuous times.
“With everything that’s going on in the world, be extra! Be loud! Bigger hair! Bigger clothes,” Hershii said. “And when someone asks you, ‘For what?’ Just because it’s Tuesday. That’s why! Make every day the Met Gala.”