Every outfit Taylor Swift wears on the Eras Tour, ranked

It’s too orange.

The original pink variant 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).”

Blue is the best option for a surprise song dress, partially because the color complements Swift’s eyes that put those Georgia stars to shame and partially because it reminds me of Sharpay Evans singing “Bop to the Top.”

The flowers plopped all over this dress are flimsy and weird-looking. I would be glad to never see it again.

Honestly, Swift’s outfits never slay during the “Red” segment, but the ombré romper is the worst offender. It’s not terrible, but it doesn’t do anything for her.

There are six 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,” “Who’s Taylor Swift anyway? Ew,” “This is not Taylor’s Version,” “I bet you think about me,” and, most recently, “I knew you were trouble.” The shirt is always paired with a black bowler hat.

This look doesn’t exactly scream high fashion, but it gets extra points for the nostalgia factor. The hat is ugly, but it gets extra points for the cuteness factor, since Swift always gives it to a special fan in the crowd.

Silver is slightly better than gold, but the tassels still look like octopus tentacles.

It’s too pink!

Blue is a natural fit for the “Midnights” segment, especially because the standard album cover features a light-blue font.

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.

Chaotic, yet fun.

I assume the new outfit for “The Tortured Poets Department” segment is designed to look like a “crumpled-up piece of paper lying here,” evoking both the tragedy of “All Too Well” and the dark-academia aesthetic of the album itself.

It’s a solid concept (and the gown’s neckline is divine), but ultimately, I can’t support Swift’s obsession with high-low mullet dresses. I thought we left this trend behind in 2010.

Worse still, the lyrics scrawled on the fabric (“I love you, it’s ruining my life,” from the single “Fortnight,” and “Who’s afraid of little old me? You should be“) make it look like Swift is wearing a high-school theater costume, not a couture Vivienne Westwood gown.

After singing “The Smallest Man Who Ever Lived,” Swift and her dancers perform a brief skit, in which Swift is forced to strip off her dress, put on heels, and smile through the pain.

The onstage outfit change yields a bralette and matching high-waisted bottoms, subsequently topped with a duster. The different color combos include black and gold, white with silver accents, and sparkly gray with a metallic jacket.

These ensembles recall the jackets and two-piece sets from The 1989 World Tour, combined with the ringmaster motif from the “Red” era.

At the time, Swift was battling an eating disorder and often feared she might faint onstage.

While the new Eras Tour outfit is relatively simple, this callback adds an extra layer of poignance to Swift’s performance of “I Can Do It With a Broken Heart.”

Swift unveiled a berry-pink rendition of the woodsy “Folklore” gown during her second show in France.

The shade is stunning in a vacuum, but much like my previous complaint, it’s the wrong color for the sister albums segment of the show.

The songs that populate “Folklore” and “Evermore” are full of yearning, betrayal, regret, depression, and even murder. These are not the hot-girl party bops of “1989” or “Midnights,” which call for brighter hues and more pizzazz.

And if you think I’m being too nitpicky, I’ll kindly remind you that Swift has embraced each album’s individual color theory, down to the official Eras Tour branding. I’m simply following her lead.

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.” 

As opposed to muted gold, silver offers a lovely contrast with the purple visuals of “Speak Now.”

The newest “Fearless” look, which Swift debuted in Milan, is a solid, mid-tier choice. It’s much better than the era’s stringy options, though it doesn’t measure up to the original fringed minidress.

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 sillier and cheaper than it is.

The green is prettier than orange, but not as pretty as pink.

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.

This version of the “Midnights” bodysuit, which Swift debuted in Los Angeles, 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 patches in the abdomen look a little strange.

In theory, this is a strong color combo; it reminds me of a sunset. In reality, the bodysuit is just slightly too orange.

The glittering silver blazer was the first costume change ever seen during the Eras Tour. With the matching red-bottomed Christian Louboutin boots, it remains an effective mix of elements.

The black blazer is even hotter than blue.

The sheer, baby-blue cape sleeves are lovely, but this color isn’t quite the right fit for “Folklore,” which is not a blue-sounding album in the slightest. (“1989” and “Midnights” already have that vibe locked down.)

Cream is a fitting color for “Folklore,” an album that evokes earthy and neutral tones.

The “Speak Now” gown that Swift debuted in France is the best one yet.

The skirt has just enough volume to look elegant instead of puffy — while the delicate, glittering details evoke a similar dress that Swift wore to perform “Enchanted” in 2011 (designed by Reem Acra), which is currently on display at the Country Music Hall of Fame and Museum in Nashville.

Out of all the flowy “Folklore” gowns, green is the prettiest and best suited for the album’s aura. It makes Swift look like a woodland fairy.

If it ain’t broke, don’t fix it. The one-legged “Reputation” jumpsuit, also by Roberto Cavalli, is bold and sexy with a hint of danger, just like the album itself. Puglisi described it as “more of a badass, rock and roll look.”

Swift looks like a Barbie come to life in this version of the blazer, which she debuted onstage in Argentina. It also gives her performance of “The Man” a flirty, feminine edge.

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.