Michele walked the red carpet in a black tuxedo dress designed by Michael Kors.

The neckline dipped low, and a slit cut the skirt on one side, creating a sexy and balanced look. Michele also let the dress speak for itself, wearing black heels and simple jewelry.

Strong wore a floor-length, long-sleeve coat dress designed by Badgley Mischka. It had a pretty silhouette, with its collared neckline, belted waist, and full skirt.

However, the green dress was covered in an array of hot pink flowers from head to toe. The pattern was overwhelming to the eye, and the look might have been better if Strong wore the coat unbuttoned with an unpatterned shift underneath it to break up the colors.

Schiaparelli designed Erivo's taupe gown, which had a regal feel that set the tone for her role as host of the evening.

The gown's column skirt had a sheen to it, while the off-the-shoulder bodice was covered in sparkly, floral beading. The neckline hovered around Erivo's frame, playing with structure.

Holmes wore a custom Prada ensemble to the Tonys. The look featured the two main colors associated with "Wicked," as it had a high-neck, green blouse and a column-style pink skirt adorned with sparkly beading.

The two garments looked like they belonged to different outfits, and the green top in particular felt too casual for the Tonys. Holmes could have stood out on the red carpet if she had paired the skirt with a better top, but the look fell flat as it was.

Tamara Ralph Couture designed Amal Clooney's white gown, which had an off-the-shoulder neckline and hugged her figure before ending in a scalloped hem at her ankle.

Rows of pearls adorned the dress, making it look like the lawyer was dripping in the gems. White heels with a pointed detail completed her elegant ensemble.

George Clooney, on the other hand, just wore a black tuxedo and bow tie for the evening. It's a classic look, but it would have been nice to see him add a fashionable flair to the outfit through a brooch or other accessory.

Escola won the Tony for best performance by an actor in a leading role in a play on Sunday for their performance as Mary Todd Lincoln in "Oh, Mary!"

They accepted the award in a custom Wiederhoeft gown that paid tribute to Bernadette Peters, whom Escola used to emulate in YouTube videos and live performances. She also wore a similar dress when she won a Tony in 1999.

Escola's soft-blue gown had a corset bodice with a halter neckline. Ruched, off-the-shoulder sleeves made of sparkly fabric coordinated with a swath of matching fabric on Escola's waist, which gave way to a sparkly skirt. A long train trailed behind them, adding glamour to the look.

A red wig and choker tied Escola's outfit together.

Chenoweth attended the Tonys in a blue gown designed by Christian Siriano.

The corset bodice had a pointed neckline with exposed boning and sheer panels on the bodice. The asymmetrical skirt was also transparent, sitting atop a shorter bubble skirt that gave it volume.

Everything about Chenoweth's outfit looked like it belonged in 2012 instead of 2025, from the boning and sheer fabric to the electric-blue color. Chenoweth could have updated the look with modern accessories or a fuller skirt.

Raver-Lampman's deep-blue suit consisted of a jacket with a bow fastening and wide-legged pants.

She wore the suit with no top, exposing her black bra and giving the ensemble a sexy edge.

Genny designed Soo's dress, which was made of a sheer fabric in pale pink.

The bodice was busy, featuring one strap, a large bow covered in beading on the chest, and a cutout. A fabric ruffle sat on Soo's waist, and the skirt flowed to the floor.

Although the dress had interesting elements, like the bow and waist ruffle, the transparent fabric distracted from every other part of the look, making the outfit feel busier than it was. Because the fabric was such a statement, the dress would have been better for Soo if it didn't feature the bow or additional detailing, as it would have offered a cleaner look.

The actor and content creator chose an emerald green suit from Naked Wardrobe for the Tonys.

Allen wore the oversize jacket open, showing off a low-cut white blouse and the high waistline of his wide-legged trousers. Heeled, white boots peeked out from underneath the pants, and Allen's glasses conveyed a sophisticated feel for the ensemble.

Hough's white Christian Siriano gown was pretty. It had a form-fitting silhouette before poofing out in a mermaid skirt made of voluminous tulle.

However, the ensemble felt imbalanced because Hough didn't wear any jewelry with the look and kept her bob down.

The outfit would have felt more cohesive if she had added statement earrings or a bold necklace. As she wore it, it seemed like Hough just forgot to add accessories.

Sink, who was nominated for best performance by an actress in a leading role in a play for her performance in "John Proctor is the Villain," arrived at the Tonys in a custom Prada dress.

The silky, silver dress had a low, V-neckline, and it cinched at her waist before flowing into a floor-length skirt with a subtle train. Sparkly, clustered embellishments framed the neckline and formed a bow in the center for a pop of texture.

Paired with silver earrings, Sink's gown was glamorous without being over the top.

Twiggy Moore designed Lawrence's mermaid-style pink dress. The gown was covered in large black polka dots, a strip of black fabric on the neckline, and a coordinating one on the skirt, complete with a bow.

The dark color and size of the polka dots were too much for the dress, and the gown would have looked sleeker if the dots had been smaller or a paler hue.

Lawrence was nominated for best performance by a featured artist in a musical at the Tonys.

Criss won a Tony for best performance by an actor in a leading role in a musical in "Maybe Happy Ending," which also took home the award for best musical.

Criss accepted the award in a black tuxedo, pairing high-waisted, wide-legged pants with a cropped jacket. The jacket featured white lapels and white buttons, putting a fresh spin on the traditional tuxedo look.