2026 Oscars beauty roundup: fresh faces, statement nails and prosthetic teeth

Actor Jessie Buckley appeared in a colour-blocked Chanel gown combining pink and red in an off-the-shoulder design inspired by classic Hollywood silhouettes. The shape emphasised the neckline and shoulders, with a fitted bodice and a skirt that extended cleanly to the floor.

Her Oscars beauty look complemented the soft colour palette. Makeup focused on even skin and muted tones through the eyes and cheeks, avoiding heavy contour or dramatic colour. The overall approach allowed the contrast between the pink and red fabric to remain the focal point, along with her effervescent smile.

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Gracie Abrams arrived in a two-piece Chanel look that departed from the traditional full-length evening gown often seen at the ceremony. The set consisted of a structured black bodice paired with a coordinating skirt, reflecting the house’s continued use of tailored separates on formal red carpets. She completed the look with Chanel high jewellery, which added a layer of sparkle without interrupting the clean lines of the outfit.

Her interpretation of Oscars beauty leaned toward simplicity. Makeup centred on an even, luminous complexion with soft contour and lightly defined eyes. Neutral tones through the lids and cheeks kept the palette restrained, while the lips were finished in a subtle natural shade.

Abrams wore her hair short, styled with a soft texture that framed the face and allowed the neckline of the bodice and jewellery to remain visible. The overall effect aligned with the evening’s broader direction in Oscars beauty, where pared-back makeup and unfussy hair accompanied couture fashion.

Singer Audrey Nuna arrived in a custom Thom Browne look that blended tailoring with couture volume. The design featured a sharply structured, military-inspired blazer with a high collar and lines of gold sequins cascading down the bodice. At the waist the silhouette shifted into a dramatic black skirt with sculptural volume and layered fabric, creating a striking contrast between rigid tailoring and fluid movement. The black and gold palette referenced the Oscar-nominated song “Golden” from KPop Demon Hunters, which Nuna performs with EJAE and Rei Ami. 

Her Oscars beauty look balanced the strong structure of the outfit. The complexion was even and softly luminous, paired with restrained eye makeup and neutral lips that kept attention on the architectural clothing.

One of the most notable details was her manicure. Nuna wore gold chrome nails finished with sculptural three-dimensional appliqués inspired by the shape and shine of the Academy Award statuette. The design created a miniature metallic effect at the fingertips, extending the gold theme of the ensemble into the smallest elements.

Barbie Ferreira arrived at the 98th Academy Awards in a custom cobalt blue gown designed by Zac Posen for GapStudio. The dress centred on a sharply structured corset bodice constructed with more than seventy internal bones, creating a defined shape through the waist before opening into a voluminous skirt with a cascading train. The moiré taffeta fabric emphasised the depth of the blue tone under the red carpet lights, while a button-front overskirt referenced the construction of a classic shirt dress, a deliberate nod to Gap’s design heritage.

The look was styled with De Beers jewellery and Christian Louboutin shoes, maintaining a clean palette that allowed the architectural structure of the gown to remain the focus. 

Her Oscars beauty approach drew on classic Hollywood references, reminiscent of bombshell beauties past. Ferreira wore her dark hair in deep side-parted waves with controlled volume, while makeup focused on softly defined eyes, even skin and nude-pink lips.

Minimalist is in, and Norwegian actor Renate Reinsve proves its merits in a custom Louis Vuitton gown by Nicolas Ghesquière in a vibrant red tone. Reinsve attended the 98th Academy Awards as one of this year’s Best Actress nominees. The strapless design was noted for its tube‑like bodice and deep thigh‑high slit. The look incorporated a square side train that extended from the hip, contributing to the architectural shape. She completed the ensemble with matching red heels and a chunky silver bangle.

Makeup featured a red lip that matched the tone of the gown, keeping the colour story coherent from dress to lips without relying on strong contrast elsewhere. Her skin appeared luminous, allowing Reinsve’s natural complexion to remain visible under the red carpet lights.

She wore her hair in a sleek, low ponytail, pulled back from the face. The choice maintained clean lines and ensured the neckline and the bold shape of the gown remained clear in profile. Rather than adding ornate accessories, the emphasis on a single colour story between gown and makeup—paired with controlled hair styling—reflected a contemporary interpretation of Oscars beauty that prioritised harmonious composition over elaborate technique.

McKenna Grace attended the 98th Academy Awards in a strapless Oscar de la Renta gown in soft pink satin. The dress featured a fitted bodice that extended into a full skirt with gentle structure, creating a classic red carpet silhouette while keeping the colour palette light and youthful. The smooth satin surface allowed the pale tone of the gown to stand out under the red carpet lights.

Her Oscars beauty look focused on fresh, polished skin. Makeup centred on a luminous base with soft blush and subtle highlight across the cheekbones. The eyes were defined with delicate neutral shadow and mascara, keeping the focus on the complexion rather than dramatic colour. A pink lip mirrored the tone of the dress and maintained the soft palette.

Grace wore her blonde hair styled up in a neat updo, with loose strands framing the face and softening the overall look. The styling kept the neckline of the strapless gown visible and aligned with the understated direction seen across much of this year’s Oscars beauty on the red carpet.

And in an unexpected beauty move, Jack O’Connell arrived at the 98th Academy Awards drawing attention to a deliberate detail in his smile. O’Connell appeared on the red carpet wearing prosthetic vampire fangs, a reference to his role as the vampire Remmick in the film Sinners. The actor has been associated with darker characters in recent projects, including the villainous figure in 28 Years Later: The Bone Temple, reinforcing the visual nod to his recent screen roles. 

The decision also aligned with O’Connell’s long-standing resistance to Hollywood dental conventions. In earlier interviews, he has said he has no interest in altering his natural teeth to fit industry expectations, stating bluntly that “my teeth are my teeth” when asked about cosmetic dental work.

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