Each night during the Eras Tour, Taylor Swift performs an acoustic set with two surprise songs.
The dress for this segment is designed for a quick change; Swift slips it over the “1989” outfit while still on stage. It makes sense for the dress to be plain. But it doesn’t make sense for the fabric to be the same color as Big Bird.
Frankly, the yellow dress is ugly. It’s way too yellow.
The green dress isn’t ugly, but it’s not especially stunning either.
The pink dress still isn’t anything to write home about, but generally speaking, Swift looks good in pink.
Swift wore blue versions of several classic tour looks for the night she announced “1989 (Taylor’s Version).”
This is the best surprise song dress, purely because it reminds me of Sharpay Evans singing “Bop to the Top.”
The flowers plopped all over this dress are flimsy and unpleasant-looking. I would be glad to never see it again.
Honestly, Swift’s outfits never slay during the “Red” segment, but the ombre romper is the worst offender. It’s not terrible, but it doesn’t do anything for her.
Swift dons glittery, floor-grazing outerwear to perform “All Too Well (10 Minute Version),” which helps make the “Red” segment a bit more sophisticated — though it doesn’t match the somber vibe of the song. I much preferred the sleek look that Swift wore to perform the song on “Saturday Night Live.”
There are three versions of this shirt, inspired by an outfit worn by Swift in the “22” music video: “A lot going on at the moment,” “We are never getting back together like ever,” and “Who’s Taylor Swift anyway? Ew.” The shirt is always paired with a black bowler hat.
The shirt isn’t exactly high-fashion, but it gets extra points for the nostalgia factor. The hat is ugly, but it gets even more extra points for the cuteness factor, since Swift always gives it to a special fan in the crowd.
As Insider’s Courteney Larocca has bravely noted, the “weird noodle-like strings” that hang from this dress are absolutely uncalled for.
Silver is slightly better than gold, but the tassels still look like octopus tentacles.
It’s too puffy!
It’s too pink!
This is a much nicer shade of pink.
Blue makes sense for “Midnights,” especially because the album cover features a light-blue font, so this is a happier marriage than the purple coat and pink dress underneath.
This version of the T-shirt dress is slightly elevated, with multicolored gems scattered across the fabric.
The fuzzy coat that opens the “Midnights” segment is a reference to the “Lavender Haze” music video. This connection is most obvious when Swift wears the opalescent T-shirt dress underneath.
It kind of looks like Swift skinned a Muppet to make this coat, but don’t worry: she confirmed in a behind-the-scenes clip that she would never wear real fur.
Blue-on-blue is a logical combo for the closing number, if a little predictable.
The multicolored fringe is a little chaotic, but it’s a fun way to spice things up for the final song of the evening.
The contrast between Swift’s bright skin, dark-blue bodysuit, and hot-pink fringe is very compelling.
For the majority of the US leg, Swift only had one look for the “Evermore” segment: a mustard-yellow dress that screams cottagecore. It’s cute but nothing particularly special, and it has grown a little dull over time.
Swift has only worn this alternate “Evermore” dress a handful of times, but it made for a nice change of pace — and the deep, sparkling bronze compliments the moody, wintery vibe of songs like “‘Tis the Damn Season,” “Champagne Problems,” and “Tolerate It.”
The “Speak Now” outfit is a callback to the Speak Now World Tour, when Swift wore sparkly gowns while singing “Enchanted.” For The Eras Tour, Swift pumped up the drama with voluminous skirts and embroidered jewels.
The gold version is fine, but looks slightly cheaper than its counterparts — like an extravagant prom dress.
Instead of muted gold, silver offers a lovely contrast with the purple visuals of “Speak Now.”
The baby-pink version of the “Enchanted” gown is almost the best, with its flattering neckline and strips of sparkles that resemble falling rain.
The deep purple hue made for an exciting change when Swift debuted this look in East Rutherford, New Jersey — but the tassels throw off the whole effect. They make the bodysuit look cheaper than it is.
The orange set is nice, but it’s the weakest link of the “1989” colors (and signals that she’ll wear the yellow surprise-song dress).
Maybe it’s a subtle Easter egg for “Karma,” the rumored album that Swift scrapped in between “1989” and “Reputation.” (In the music video for “The Man,” the word is graffitied on the wall in orange paint.)
The green is prettier than orange, but not as pretty as pink.
Although hot pink isn’t quite right for the overall vibe of “1989,” it does pair well with the girlish charm of “Blank Space” and the fiery passion of “Bad Blood.”
After 26 concerts, we finally got to see Swift perform songs from “1989” wearing the album’s distinctive color. This glittering blue set recalls the New York City skyline that inspired Swift’s iconic pop songs.
The latest edition of the “Midnights” bodysuit is likely designed to resemble an outfit that Swift wore during the 1989 World Tour.
It’s one of her most daring looks yet, but the sheer cutouts in the abdomen look a little misplaced.
The “Lover” bodysuit is always gorgeous, but there’s something slightly off about the blue-and-yellow color combination. The tones are too muted to complement the show’s opening visuals.
Swift typically slips on a silver blazer over her “Lover” bodysuit to perform “The Man” and “You Need to Calm Down.” With the matching red-bottomed boots, it’s a powerful combination.
We love the silver blazer, but the black blazer is extremely hot.
The sheer, baby-blue cape sleeves are very pretty, but the color isn’t the right fit for “Folklore,” which is not a blue-sounding album in the slightest.
“Folklore” isn’t a purple-sounding album either, but this dress does look like something a young widow might wear in a Jane Austen film adaptation, so it works.
Cream is a fitting color for “Folklore,” an album that evokes earthy and neutral tones.
This is only slightly different from “Folklore” in cream, but the lace adds a new edge — romantic and old-timey, well-suited for the “pioneer woman in a forbidden love affair” that Swift imagined while she was writing these songs.
Although blue is not the traditional “Speak Now” color, everything about this dress is truly stunning, from the floral details to the elegant train.
The navy bodysuit is an Eras Tour classic, dark and sparkling like midnight rain. It’s an almost-perfect choice to close the show.
Out of all the flowy “Folklore” gowns, green is the best fit for “Folklore.” It makes Swift look like a woodland fairy.
Swift’s flapper-inspired dress is ideal for performing classics like “You Belong With Me” and “Love Story.” The fringe is fun and youthful, just like the original “Fearless” era, but paired with knee-high boots, it’s still chic and modern.
If it ain’t broke, don’t fix it. The one-legged “Reputation” jumpsuit is bold and sexy with a hint of danger, just like the album itself.
There is something especially ethereal about this version of the classic “Midnights” bodysuit. The blue has a slightly warmer, richer tone — a better match for Swift’s ocean eyes and pinkish undertones than navy — and the scalloped detailing on the bodice is exquisite up close.
Swift looks like a Barbie come to life in this version of the blazer, which she debuted on stage in Argentina. It also gives her performance of “The Man” a flirty, feminine edge.
Swift also debuted this pink version of her opening look in Argentina. The gorgeous combination of shades, from baby pink to strawberry and fuchsia, compliments the tone of songs like “Cruel Summer” and “Lover.”
This was the first outfit Swift wore when she arrived on the Eras Tour stage back in March, and to this day, it remains the best.
The blue, purple, and pink gems create the perfect color combo, especially suited for the warmth and whimsy of the “Lover” era.
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