For me, this dress was all about the lighting.
Here, it seems to flow together pretty nicely, kind of a fancy wedding dress, but also quite a pretty one. I could totally see Nina’s Vampire Diaries character wearing this to get married to one of her lean suitors, which would make for a very dramatic scene at the altar when they turn sideways to say their vows and all you can see are two tiny vertical lines.
In a different light, though, it exposes more of the construction:
This light seems to expose more of the construction, and it’s distracting, like she and a bunch of woodland creatures grabbed a corset and some taffeta tablecloths and Cinderella’d her a formal toga for the Zeta Alpha Psi semi-formal autumn dance and panty raid. That said, though, let’s give Nina props for a) repping The CW pretty much all on her own at the Emmys, which is kind of a coup, and b) doing so by appearing randomly and without fanfare (but with some adorably inept lip-synching) in the Glee-inspired opening bit, alongside folks like Hurley and Joel McHale. That is a nice little coup, and gives me hope that The CW will rise again, or indeed, for the first time. That network has to make it, because otherwise, Jessica and I will be forced to adopt a much leaner diet of snarky teen-centric fare, and that stuff is our lifeblood. It’s what pizza was to us in college: We consume it with abandon and without much thought to what it’ll do to us, because we like it, and we’re invincible, so just take our drunkenly scrawled check for $12 and stop JUDGING US, Late-Night Delivery Man Pete.