Each night during the Eras Tour, Swift performed an acoustic set with two surprise songs.

The dress for this segment was designed for a quick change; Swift slipped it over her outfit from the previous segment (first it was "1989," then it was "The Tortured Poets Department") while still onstage. It makes sense for the dress to be simple, 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.

It's too orange.

The green dress isn't ugly, but it's not especially notable either.

The original pink variant 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)."

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."

You know the drill by now. This version of the dress is fine. Mostly it just looks simpler and cheaper than we'd expect from a billionaire — likely an intentional choice aligned with Swift's masterful PR strategy.

Swift debuted three versions of this chiffon wrap dress in Miami: magenta-violet-teal, bluish-purple, and orange-pink. Thanks to their ombré hues and flowy fabrics, these were promptly dubbed "betta fish dresses" by fans online.

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

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

The new style for "1989" was a sequined top and ombré skirt pairing by Roberto Cavalli, much like the skater skirts from the album's original era.

There are dozens of color combinations that Swift wore throughout the tour — blue and pink, orange and purple, yellow and red like her boyfriend's football team — but none of them were particularly chic. The silhouette aims to evoke nostalgia but ends up feeling outdated.

Honestly, Swift's outfits never slayed during the "Red" segment, but the ombré romper is the worst offender. It's not terrible, but it doesn't do anything for her.

Swift donned glittery, floor-grazing outerwear to perform "All Too Well (10 Minute Version)," which helped make the "Red" segment a bit more sophisticated — though it didn'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 were 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 "I knew you were trouble." The shirt was always paired with a black bowler hat.

This look doesn't exactly scream high fashion, but it gets extra points for sentimentality. The hat is the antithesis of cool, but it gets extra points for the cuteness factor, since Swift would always give it to a special fan in the crowd.

This is a custom Roberto Cavalli 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.

This is a classic combination, but it lacks contrast and intrigue.

Blue is a natural fit for the "Midnights" segment, 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 Swift wore to open the "Midnights" segment was a reference to the "Lavender Haze" music video. This connection was most obvious when Swift wore 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.

Chaotic, yet fun.

The contrast between Swift's bright skin, dark-blue bodysuit, and hot-pink fringe makes this the best option for the show's closing number.

I assume the gown for "The Tortured Poets Department" segment was 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 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") made it look like Swift was wearing a high-school theater costume, not couture Vivienne Westwood.

Swift added a military jacket atop her "Tortured Poets" gown to sing "The Smallest Man Who Ever Lived," an impassioned performance that casts Swift as a soldier on the front lines of a battlefield. The look is still a little corny, but at least it fully embraced the theatrical costume vibe.

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

The onstage outfit change yielded a bralette and matching high-waisted bottoms, subsequently topped with a duster. The different color combos included 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 that time, Swift was battling an eating disorder and often feared she might faint onstage.

While the Eras Tour outfit was relatively simple, this callback added 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 did grow 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 only wore 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 tiered and embroidered "Folklore" outfits, custom-made by Alberta Ferretti, were always winners. The flowy style made Swift look like a friendly witch, much like her recent collaborator Florence Welch, which is a compliment.

However, the yellow one doesn't suit the era's aesthetic one bit. The mismatch was especially glaring during "My Tears Ricochet," which was intended to parallel 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 — especially this shade — should not be in Swift's color palette. It doesn't suit her.

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.

The ballgown was 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 looks slightly cheaper than its counterparts, like an extravagant prom dress.

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

The baby-pink version of the "Speak Now" ballgown is the best among the original set of options, with its flattering neckline and strips of sparkles that resemble falling rain.

This newer "Fearless" look, which Swift debuted in Milan, was a solid, mid-tier choice. It's much better than the era's stringy options, though it can't measure up to the original fringed minidress.

Swift debuted this version of the "Fearless" minidress in France, gleefully tossing her body around to show off the shimmery fringe. Again, it offered a mid-tier option, but definitely more fun and fresh than its Italian counterpart.

The deep purple hue made for an exciting change when Swift debuted this look in East Rutherford, New Jersey — but the tassels threw off the whole effect. They make the bodysuit look sillier and cheaper than it is.

Orange is the weakest link of the original Roberto Cavalli sets (and it signaled that she'd wear the yellow surprise-song dress. Yuck).

Maybe it was intended as a subtle Easter egg for "Karma," the rumored album that Swift scrapped 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 did pair well with the feminine 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.

This version of the "Midnights" bodysuit was designed by Zuhair Murad and unveiled in France. 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, was likely designed to resemble an outfit that Swift wore during the 1989 World Tour. It was declared one of her most daring looks yet.

For over a year, Swifties had been jonesing for an updated "Reputation" costume — largely because they believed a new look would come paired with an announcement for "Reputation (Taylor's Version)," in the same way Swift debuted blue outfits on the same night that she announced "1989 (Taylor's Version)."

Alas, when Swift finally emerged wearing a new asymmetric catsuit in Miami, no such announcement came — and that's not the only reason this version is a letdown.

Swapping the red snakes for gold cobras does make thematic sense given the album's many references to the color (gold bodies, gold cages, gold tattoos), but these ones are extra chunky and extra sparkly, like tinsel you find at the party store, rather than lithe and fierce like Swift's original serpents. It made for a fun change of pace, but a downgrade nonetheless. 

The glitzy "Lover" bodysuits, custom-made by Versace, were an aesthetic highlight of Swift's Eras Tour wardrobe.

However, compared to its peers, there's something slightly underwhelming about the blue-and-yellow color combination. The tones are too muted to complement the show's opening visuals.

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

Swift slipped a bedazzled blazer over her "Lover" bodysuit to perform "The Man" and "You Need to Calm Down." This iteration is a pretty pale orange, though it didn't feel quite as commanding 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 remained an effective mix of elements.

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

The black blazer is even hotter than blue.

Although blue isn't the traditional "Speak Now" color, nearly everything about this dress is dazzling, 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.

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.)

"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.

The "Speak Now" gown that Swift debuted in France is the best of the bunch.

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.

Like the original "Fearless" minidress, Swift's final iteration was custom-made by Roberto Cavalli's creative director Fausto Puglisi.

The blue crystals, set against a shimmering silver backdrop, appear arranged to resemble a butterfly — most likely as a callback to the girlish, doodle-filled cover of Swift's self-titled debut album.

"Taylor Swift" didn't get its own segment on the Eras Tour, so it felt right to pay homage while Swift performed her other high school-era album.

The navy bodysuit is an Eras Tour classic, dark and twinkling like midnight rain.

Swift debuted her newest Zuhair Murad bodysuit at Wembley Stadium in London, the final stop on the European leg of the Eras Tour. With its star-spangled bodice and crescent-moon detail, it's the most on-the-nose "Midnights" look to ever exist.

Out of all the flowy "Folklore" gowns, green is the prettiest and best suited for the album's aura. It made Swift look like a woodland fairy.

Swift's flapper-inspired dress was 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 Chrisian Louboutin boots, it's still chic and modern.

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

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

For 130 consecutive shows, Swift wore the same one-legged catsuit to perform "Reputation." Some slandered this consistency as boring, but in my professional opinion, a classic proverb is more appropriate here: If it ain't broke, don't fix it.

This red reptilian number, 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."

Stars and moons are great, but there is something especially ethereal about this version of the "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 looked like a Barbie come to life in this version of the blazer, which she debuted onstage in Argentina. It also gave 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 the end, it remained the best.

The blue, purple, and pink gems create the perfect color combo, especially suited for the warmth and whimsy of the "Lover" era.