There’s something special about the profound impact that film and television play on our lives. However, as a fashion writer, what’s more stirring is the way that costumes from these cinematic moments weave their way off the screen and into our everyday lives. Now, with films like Emerald Fennel’s gothic romance Wuthering Heights, the new series of Shonda Rhimes’ beloved Regency-set behemoth Bridgerton and even the upcoming adaptation of Jane Austen’s Sense & Sensibility, which just so happens to star Daisy Edgar-Jones, it appears that style is entering its period drama era.

At least, that was the case at the 2026 BAFTAs. Hosted inside the Royal Festival Hall at London’s Southbank centre, the red carpet was dominated by theatrical ensembles that paid homage to fashion’s current favourite point in history—Victorian times. Indeed, it seems that 18th Century silhouettes have officially made their comeback, with Hollywood’s best and brightest dressing like they’re dressed for a Belle Époque-themed ball, rather than the most prestigious event for the British entertainment industry.

LONDON, ENGLAND - FEBRUARY 22: Milly Alcock attends the EE BAFTA Film Awards 2026 at The Royal Festival Hall on February 22, 2026 in London, England. (Photo by Joe Maher/BAFTA/Getty Images for BAFTA)

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But, given that this awards ceremony is all about the theatrics, it’s perhaps fitting that both these emerging and established actors pay homage to the second-longest reigning monarch in the United Kingdom’s history. As for the actual looks themselves, motifs ranged from high collars to puffed sleeves and ruffled frills.

The most subversive—and perhaps breathtaking—moment came from Teyana Taylor.

LONDON, ENGLAND - FEBRUARY 22: Teyana Taylor attends the 2026 EE BAFTA Film Awards at The Royal Festival Hall on February 22, 2026 in London, England. (Photo by Joe Maher/BAFTA/Getty Images for BAFTA)

(Image credit: Getty Images)

The 35-year-old was nominated for Best Supporting Actress for her role as fiery revolutionary Perfidia Beverly Hills in Paul Thomas Anderson’s One Battle After Another.