For “This Is Us” star Mandy Moore, beauty and wardrobe are vital tools in portraying Rebecca Pearson from her mid-20s to her 60s. “This is a character who has suffered tremendous loss, had children, remarried, and I think she wears it all on her face and how she chooses to face the world,” Moore says. The Golden Globe-nominated actress and singer loves switching up her look on the red carpet as well.

The marigold color sold Moore on wearing this Prabal Gurung dress to the Emmys — her “first awards show in a long time.” “I loved the breezy, floaty aspect, especially considering it was an unbelievably hot day,” she says. Finishing with a ’70s Parisian beauty look, Moore rejoined the awards circuit feeling like “a gussied-up version” of herself. Days later, “This Is Us” premiered. “We didn’t know much about [Rebecca] in the pilot, but I was drawn to this woman deeply in love with her husband, devoted to being the best mother she could be, and whatever happened from there, I was more than game for.”

“‘This Is Us’ and I were both nominated, so it felt like a seize-the-moment-type fashion opportunity,” says Moore of these Golden Globes. Her navy Naeem Khan dress was the first option she tried. “The flowy layers of chiffon and cape trailing behind made me feel [like] some sort of chic superhero. The deep V was new for me, too, and I just felt empowered and womanly.” That the freshman show landed nods was mind-boggling to Moore, who considers it cathartic — both an escape from life and an opportunity to “feel it all” via the characters.

Come Emmy time, when the NBC newcomer contended for best drama series, Moore could tell from a photo that this Carolina Herrera dress was “the one.” “Originally we were thinking of asking them to make it in another color, but once we tried on the sample, it was undeniable,” says Moore, who loved the dramatic black and white layers of tulle. She added Jennifer Meyer jewelry, a swept-up hairstyle and pink lips to complete the early fall look. “It was a whole lot of dress, but very much felt like the quintessential ‘princess’ moment,” she says.

Since wearing black in solidarity with “our sisters and the Time’s Up movement” was a key component to the Golden Globes, Moore knew she wanted to “find a way to make it pop.” With help from Moore’s stylist, Erica Cloud, designer Rosie Assoulin created a custom gown, which didn’t fall right. “[So] on the day, we went with the original, all-black version that was never shown on the runway,” she says. “The sample fit like a glove, no alteration required, and it was just instantly textured and gorgeous and comfortable — not to mention striking with the crisp red belt.”