I've learned this the annoying way: an outfit can look incredible in the mirror and completely fall apart on video. They're different jobs, and the things that make something photograph well aren't always the things that make it film well.
Movement beats detail
Tiny details disappear on video. Movement doesn't. A skirt with weight to it, a sleeve that catches air, anything with drape — that reads instantly, even in a three-second clip.
Stiff structured pieces photograph beautifully and film like cardboard. If it doesn't move when I turn, it usually doesn't make it. The test I do: stand in front of the mirror and turn once, quickly. If nothing follows a beat behind you, it's a photo outfit.
This is also why so many clips have a spin in them. It isn't only for the drama — it's the fastest way to show that a garment has life in it.
Texture reads better than print
Satin, mesh, velvet, anything with a bit of shine — these give the light something to do. Flat cotton absorbs everything and can look cheap on camera even when it isn't.
This is also why so much of my wardrobe is black satin. It's not a moody aesthetic choice, it's that it catches light along every fold, so the shape of the garment is legible even against a dark background.
Velvet is the trickiest of the nice fabrics. It looks extraordinary under a soft light and turns into a black hole under a hard one, because it eats the highlight instead of returning it.
Patterns to be careful with
Very fine stripes, tight checks, and dense herringbone will shimmer and crawl on video. It's a compression thing and there's no fixing it in the edit — the pattern is finer than the codec can resolve, so it flickers between frames.
Larger, more spaced-out prints are safe. Big polka dots, wide stripes, anything where the shapes are bigger than a fingernail on screen.
If you're not sure, film ten seconds and watch it back on your phone at normal size. The problem is obvious immediately and never shows up in a still.
Check against your actual background
I have a cream wall, so nothing cream ever works — I turn into a floating head. I hold things up against the actual wall before committing, because contrast with your background matters more than whether the piece is nice.
The general rule: dark clothes against a light wall, light clothes against a dark one. If they're the same value you lose your whole silhouette, and silhouette is the first thing a viewer reads before they've registered anything else.
Same goes for your hair. Dark hair against a dark background disappears, which is a large part of why I keep my wall light.
Comfort is a camera consideration
Anything I have to keep adjusting shows up as fidgeting, and fidgeting reads as nervous. If a strap slips or a hem rides up, I'll be fixing it every eight seconds without noticing and the footage will be unusable.
I'd rather film in something slightly less striking that I can forget about entirely. You can see the difference between someone wearing an outfit and someone managing one.
Short version: something that moves, something with texture, and enough contrast against your wall. The rest is just whether you feel good in it, which honestly does show up on camera too — probably more than the fabric does.