Every outfit Taylor Swift wears on the Eras Tour, ranked

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.

I do appreciate that Swift eschewed the butterfly sleeves and unnecessary ruffles for this updated variant, but this dress still looks like it came from Forever 21.

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."

Swift debuted a broad collection of new designer looks in Nanterre, France, the first stop on the tour's European leg.

The latest "1989" outfit by Roberto Cavalli is a two-piece set with a pink top and blue ombré skirt. Unfortunately, this pairing feels juvenile, perhaps because it reminds me of a gender reveal party.

During her second concert in France, Swift debuted another variation of this look in orange and purple (with mismatched gold and silver shoes). It's not much better than the first version.

True, Swift doesn't resemble a cartoon chipmunk in this color combination, but she does somewhat resemble Dora the Explorer, or a Tide Pod.

The tiered and embroidered "Folklore" outfits, custom-made by Alberta Ferretti, are almost always winners. The flowy style makes Swift look like a friendly witch, much like her recent collaborator Florence Welch, which is a compliment.

However, this one doesn't suit the era's aesthetic one bit. The mismatch is especially glaring during "My Tears Ricochet," which is intended to resemble a funeral procession.

This dress was likely designed to evoke the fusion of "Folklore" and "Evermore" into one segment, which came with Swift's newly altered setlist for the European leg. But still, as we previously established, yellow is not Swift's color. It doesn't work.

Swift unveiled a hot-pink rendition of the woodsy "Folklore" gown during her second show in France.

Much like my previous complaint, this is 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.

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 five 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," and, most recently, "I bet you think about me." The shirt is always paired with a black bowler hat.

The look doesn't exactly scream 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.

This is a Roberto Cavalli custom dress, embellished with Swarovski crystals, but somehow it looks like a stringy array of ramen noodles.

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 standard album cover features a light-blue font.

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.

I can imagine 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, but I'm sorry: I simply cannot 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") make it look like Swift is wearing a high-school theater costume, not a couture Vivienne Westwood gown.

Swift adds a military jacket atop her "Tortured Poets" gown to sing "The Smallest Man Who Ever Lived," an impassioned performance that casts Swift as the drum major in a marching band. The look is still a little corny, but at least it's a full embrace of the theatrical costume vibe.

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 minimal outfit (not pictured here) is a neutral-colored bralette and matching high-waisted bottoms. During night one in France, the set was topped with a gold duster. For the second show, it was white with silver accents.

These ensembles recall the classic jackets and two-piece sets from The 1989 World Tour. 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."

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.

Note: There is a slightly less saturated version of this dress, but they're so similar, they don't warrant separate entries on this list.

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 the best among the original set of options, with its flattering neckline and strips of sparkles that resemble falling rain.

The newest "Fearless" look that Swift debuted in France 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 fringe-covered mini dress.

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 original Roberto Cavalli sets (and signals that she'll wear the yellow surprise-song dress. Yuck).

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 newest edition of the "Midnights" bodysuit was designed by Zuhair Murad. It subtly evokes millennial fashion trends with a halter neckline, waist slits, and a chevron-esque pattern.

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 cutouts in the abdomen look a little misplaced.

The glitzy "Lover" bodysuits, custom-made by Versace, are 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.

In theory, this color combination is very compelling; it reminds me of a sunset. But in reality, the bodysuit is just slightly too orange.

Swift slips a bedazzled blazer over her "Lover" bodysuit to perform "The Man" and "You Need to Calm Down." The latest iteration is a pretty pale orange, though it doesn't feel as powerful as the other options.

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 combination.

We all love the silver blazer, but the black blazer is extremely hot.

The sheer, baby-blue cape sleeves are gorgeous, but this color isn't quite 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.

Plus, the color recalls a sky-blue ballgown that Swift wore during the original "Speak Now" tour in 2011, giving this look an extra layer of nostalgic charm.

There aren't any official photos yet of the newest "Speak Now" look, which Swift debuted in France. But according to photos shared by fans online, it's the best one yet.

The skirt has just enough volume to look elegant instead of puffy — while the gown's delicate, glittering details evoke a similar dress that Swift wore to perform "Enchanted" in 2011, which is currently on display at the Country Music Hall of Fame and Museum in Nashville.

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.

In fact, according to Vogue, the dress is designed to resemble a similar Cavalli dress that Swift wore during her 2011 "Fearless" tour.

"We chose a beautiful champagne color, which is very Taylor," Cavalli designer Fausto Puglisi told the magazine.

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."

There is something especially ethereal about this version of the classic "Midnights" bodysuit, custom-made by Oscar de la Renta.

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. Paired with Swift's now-signature garter, this look is a total knockout.

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.

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.