CREATING MOMENTS: BAFTAS 2014

The BAFTAs are traditionally a space for A-listers to try something a little more off the beaten track. While the British weather may not lend itself as a backdrop to feminine pastels and sugary shades, it is the perfect foil for daring, sophisticated glamour, and at this year’s ceremony, stars were only too ready to embrace their dark side.

Leading the way was ‘Blue Jasmine’ nominee (and award winner), Cate Blanchett in a form-fitting column gown by Alexander McQueen. Expertly tailored in a heavy-duty satin with silver embroidery, this gown was a world away from Blanchett’s blush-pink Givenchy outing at the Screen Actors’ Guild Awards. Beautifully worked make-up and hair kept this look light and elegant, with Blanchett looking every bit the Oscar winner-in-waiting.

It has been a near-perfect run of red carpet wonders for Blanchett, who has consistently wowed with her choices. Always appropriate, but always interesting, Blanchett has kept the fashion pundits on their toes. With the next stop on the red-carpet circuit being the Oscars, Blanchett is on target to make a clean sweep of not only the awards (scooping wins en masse), but making sure that her mark left on this year’s red carpet is indelible.

Black and navy are perennial favourite colours for the BAFTAs, and this year was no exception: both Amy Adams and Uma Thurman skilfully demonstrated why these darker hues can work just as well as bright tones when it comes to getting a fair share of the spotlight.

Amy Adams decided to go home-grown with a design from Victoria Beckham. The sleek design, a high-octane interpretation of the shirt-dress, was another bold choice following on from Adams’ break-out appearance at the Screen Actors’ Guild Awards in an electric-blue gown by Antonio Berardi. After a shaky start on this year’s circuit, Adams has definitely found her fashion footing.

Doing duty as award presenter this year, Uma Thurman made a stunning case for navy. An often-ignored shade, this colour is slowly gaining ground as an A-lister favourite. It has all the figure-flattering benefits of black, but the way it photographs means the added interest of a subtle hint of colour gives navy that extra edge; it is the choice of a confident woman – and on this year’s BAFTA carpet, Uma oozed confidence.

Wearing a figure-hugging Versace gown, accessorised with a show-stopping diamond necklace by Chopard, Thurman very nearly stole the show altogether. This was textbook old-school Hollywood glamour from a star who re-defined red carpet fashion when she arrived at the 1995 Oscars wearing head-to-toe Prada. She was a sensation, and the fashion world has never forgotten what it owes to Thurman. This perfectly-imagined Versace gown is a fitting tribute to what Thurman has done for red-carpet fashion and a reminder from 43-yr-old Uma that the best is yet to come.

However, the biggest monochrome splash of the evening came courtesy of a double-act when Brad Pitt and Angelina Jolie turned up in matching Saint Laurent his-and-hers tuxedos.

With every big idea, the success is in the execution. A great idea can fall at the first hurdle if it is not handled with care and precision. With Saint Laurent expertly tailoring the tuxedo to Jolie’s frame, this was no gimmick: Angelina set the red-carpet alight with her approach to effortless chic. The effect was bold, modern and fresh – a left-field choice perfect for a red-carpet that welcomes daring, game-changer moves.

But if the night had to belong to anyone, it belonged to newcomer Lupita Nyong’o. Lupita’s red-carpet campaign has been a series of triumphs, with Nyong’o delving into a zesty colour palette of primary brights. Her choices from turquoise, tropical Gucci to a Ralph Lauren caped dress in scarlet-red, has made the fashion world sit up and take notice of this 30-year-old actress and film-maker. Lupita’s choices have been not only colourful; they have been spectacular. Not putting a foot wrong, Nyong’o has gone for simple silhouettes in dazzling headliner shades. As a style strategy, it has proved pretty much unbeatable.

Lupita’s appearance at the BAFTAs was another winner, with Nyong’o appearing in a jade-green gown by Dior Couture. A fitted bodice, flaring out into a dramatic, voluminous skirt, accessorised by a gold belt and matching wrist cuffs:  on paper, it sounds like a safe choice. But the choice of jade against Lupita’s skintone and the simplicity of the accessories were inspired, and took this rather simple concept into the high-fashion stratosphere.

The real success of Lupita’s red-carpet run has been her ability to wear big colours and big designers without being overwhelmed by either. Her inner confidence is her secret weapon, and that more than anything has been responsible for her red-carpet success. It’s not what you wear, but how you wear it: I have a feeling that Lupita would thoroughly agree with this sentiment.

In fact, the theme of this year’s BAFTA red carpet was not a colour, or a silhouette, but an attitude. From Cate’s relaxed glamour, to Lupita’s dazzling turn in Dior, every red-carpet success story this year had confidence at its core. Blanchett’s career-best performance in ‘Blue Jasmine’ makes her a cert for Best Actress at this year’s Oscars, and Lupita’s debut in ’12 Years a Slave’ has ensured that a substantial career in film is hers for the taking.

Confidence – well-earned, unapologetic – was everywhere on this red-carpet as women took centre stage. Strong shapes and bold colours were only half the story, with the sartorial highlights revealing a bigger picture of women in film. This year’s BAFTAs were not only honouring individual achievement, but a collective spirit that’s making films that engage and inspire. Complex, challenging roles are no longer just for the boys and the heavyweight performances delivered in ’12 Years a Slave’, ‘Blue Jasmine’ and ‘American Hustle’ acknowledge the contribution made by talents such as Nyong’o, Blanchett, and Adams. This red-carpet wasn’t just about having fun, this was a signal, loud and clear, that the women on the carpet are not only creating moments – they are making waves.

HELEN TOPE

SIMPLICITY ITSELF: OSCARS 2012

When it comes to awards ceremonies, not all red-carpets are created equal. Now in its 84^th year, the Academy Awards is, and remains, the benchmark by which all other events are measured.

With the knowledge that the world is watching, the pressure to get it right can be immense. Some stars avoid the glare of the fashion spotlight by playing it safe; others replay their best fashion hand with looks seen before. But those who make the headlines (in a good way), balance a little risk against a fail-safe marker – and that can be anything from a colour to a favourite silhouette. This is the strategy we saw in abundance at this year’s Oscars: a touch of the familiar, with a flash of unexpected genius, made for a very stylish carpet.

With a stunning appearance at the Golden Globes already under her belt, you would think that Angelina Jolie would have nothing left to prove. But you would be wrong. Jolie showed up in a black velvet gown from Atelier Versace, slit to the thigh with pleated panels on the bodice. It was a masterwork of seduction; no-one in Hollywood does smart / sexy quite like Angelina. Her winning formula of reveal and conceal makes her not only one of the Best Dressed of the night, but downright intriguing. Channelling old-school glamour with a twist of modernity, this was Jolie’s best look of the season.

Intelligent choices were all over this red-carpet, with Gwyneth Paltrow stunning everyone in a stark, white gown and cape from Tom Ford. In theory, this could have gone horribly wrong, but Ford’s gift for precision and restraint made this outfit a beautiful example of postmodern glamour. As already demonstrated by Rooney Mara and Tilda Swinton, there is an appetite for gowns off the beaten track: spare, elegant forms without a flounce in sight. This modern way of approaching red-carpet dressing looks set to become the rule rather than the exception: ruffles and bows for night-time don’t sit quite right at the moment. Indulging your inner girl feels more appropriate to daytime with Louis Vuitton and Prada giving us plenty of ideas on how to do pretty.

In terms of eveningwear, bold, sleek shapes channel a political consciousness that’s purely interested in showing up, not showing off. Gwyneth, picked by many as the evening’s Best Dressed, had clued up on the style zeitgeist: her choice was undeniably beautiful but its simplicity left Paltrow looking calm, relaxed and approachable. This style code feels like a better fit on Gwyneth, who in the early part of her career struggled to find her groove. But this stab at sartorial greatness turns Gwyneth into a very modern style icon: cool, confident and above all, contemporary.

Very few people did sequins for the Oscars, but those that did, applied them with wit and verve. Rose Byrne’s midnight-blue gown from Vivienne Westwood made her one of the red-carpet stand outs. Epic detail was reined in by a sleek, one-shoulder design and a touch of Westwood tailoring. This many sequins should cause the dress to droop, but it stood firm thanks to a corsetry that kept the shape of the dress intact. It was a comforting hit of sparkle (for those who feel a red-carpet isn’t the same without it), and Rose’s profile soared in what was a very modern re-working of a red-carpet classic.

Jessica Chastain, nominated for her role in ‘The Help’, also took her brand to the next level in a career-making turn wearing custom-made McQueen. A black strapless gown overlaid with intricate gold embroidery saw Jessica; in sartorial terms at least, go toe-to-toe with Angelina and Gwyneth. Paired with beautifully-judged make-up and tousled hair, this was a look belonging to someone who is destined to become an even bigger star. Someone with this much confidence at this stage in their career cannot help but excel – Jessica is one to watch.

Some of those attending did opt for colour in what has been a curiously monochromatic awards season: Natalie Portman in vintage Dior, Emma Stone in Giambattista Valli and Michelle Williams in Louis Vuitton – all three went for shades of red.

Williams’ gown in particular divided the critics: a strapless gown with soft, horizontal ruffles and a peplum detail at the waist was a winning choice but possibly not on Williams. Like Paltrow, Williams is most in her comfort zone when she goes simple. Some of her best red-carpet moments have been in dresses of deceptive simplicity.

Others attending chose to tread a well-beaten path. Meryl Streep chose the good-luck charm of previous Oscar winners and went for gold in eco-Lanvin. Like Sandra Bullock (Marchesa, 2010) and Charlize Theron (Gucci, 2004), Streep got her award dressed head-to-toe in gold.

Livia Firth’s good work at the BAFTAs in encouraging A-listers to participate in the Green Carpet Challenge was confirmed in earnest at the Oscars. French fashion-house Lanvin used eco-certified fabrics to dress the Iron Lady. Stepping up to collect the third Oscar of her career, Meryl looked softly glamorous. It was a truly Oscar-worthy choice.

If there was anything to take away from this awards season, it was a renewed appreciation of the simple things. A good cut, a plain colour won out time and again over flashier designs. It may be something to do with the types of films making it big this year: the grand-ambition projects or the small art house films that end up stealing your heart. But whatever is causing it, there’s a real call to arms to those who want real, honest-to-goodness sophistication.

Whether you like your red-carpet to shine, or be beautiful in a more subtle way, what’s very clear is that modern glamour – in all its grown-up glory – is here to stay.

HELEN TOPE

SHOW GIRLS: Predictions for Awards Season 2012

BAFTAS – February 12^th

With the Globes and SAGs already done and dusted, we are nearly halfway through Awards Season. The British get their turn at red-carpet glamour this Sunday with the BAFTAs Film Awards. The too-cool-for-school precursor to the Oscars, the BAFTAs has steadily gained in importance over the years. Not only is it an excellent way of gauging which star will walk away with what award, it also provides us with a truly individual take on red-carpet style.

Minus the Californian sunshine, glamour takes on a whole new hue. If stars want to explore their dark side on the red carpet, the BAFTAs are the place to do it. Black and navy take the place of metallics and blush, and eccentric glamour is positively welcomed.

The BAFTAs style code is set squarely at wooing those who enjoy their fashion off the beaten path. This is the red-carpet that in 2009 saw Angelina Jolie eschew her usual inky black gowns, and dip a toe into colour. The gown, almost all-black but with a crucial flash of yellow, was pure theatre, made all the more dramatic because it was so unpredictable. Angelina’s style reversal was just the beginning: suddenly that ivory gown worn at the Globes doesn’t seem so much of a stretch.

SHOW GIRL – Elizabeth Olsen

Elizabeth Olsen (sister of Mary Kate and Ashley) looks to be one of the breakout stars of this Awards Season. Winning accolades for her appearance in the film ‘Martha Marcy May Marlene’, and her off-duty style already being hotly profiled by the fashion press, what she wears on the red-carpet will be as eagerly anticipated.

Olsen shows that a taste for high-fashion is clearly in the blood. With her sisters winning over the fashion industry with ‘The Row’ and ‘Elizabeth and James’, the pressure is on for the youngest Olsen to represent.

More than likely, Elizabeth will sidestep the usual suspects and go with a label that’s somewhat off-the-radar. As Carey Mulligan did with Vionnet at the BAFTAs in 2010, Elizabeth looks set to intrigue us with choices that are anything but ordinary.

This gown from British designer Temperley could well be perfect for Olsen. Combining a touch of gothic glamour with serious fashion credentials, this dress meets all of the requirements for hitting a home run at the BAFTAs. Darkly seductive, but never obvious, Olsen could well make her debut wearing gowns that win us, not by force, but by stealth.

A perfect showcase for new design talent, or a red-carpet gamble, the BAFTAs is often overlooked – but if you like your fashion served with an edge, this is definitely the ceremony for you.

Also expect to see: Kate Winslet (Carnage), Tilda Swinton (We Need to Talk about Kevin), Carey Mulligan (Shame)

HELEN TOPE

THE DOMINO EFFECT: SAG AWARDS 2012

Following on from the polarised fashions of the Golden Globes, the SAGs were so strictly organised between black gowns and white, you’d think it was by design. Angelina Jolie, Amber Heard, Emma Stone and Ashlee Simpson were just some of the stars who went back to black, while Lea Michele, Tilda Swinton, Sarah Hyland and Berenice Bejo all went for the lighter option.

While some had old scores to settle after mixed reviews at the Globes, others opted for the element of surprise. No-one could accuse Glee’s Lea Michele of not trying at red-carpet events, but her gunmetal gown from Marchesa worn at the Globes wasn’t the big win Michele had been hoping for. Many cited it as a case of right dress, wrong decade – and bouncing back from that kind of criticism isn’t easy. Michele returned with a light grey chiffon gown from Versace: with a thigh-high slit, this dress was bright, breezy and youthful. Sometimes the best moments come when you just let go – and this Versace gown did all the hard work, leaving Lea to relax and enjoy the evening.

Other young stars explored the more avant-garde side of black. A brilliant colour at supporting bold silhouettes, it’s the perfect anchor for bold designs that would not ordinarily work against a more colourful backdrop. Star on the rise Amber Heard wore a daringly-cut gown from Zac Posen while Emma Stone went for a touch of modern eccentricity in Alexander McQueen.

Far from being prosaic, the decision to go with black or white made for a carpet that felt fresh and modern. Angelina Jolie’s elegant gown from Jenny Packham was entirely unexpected after several appearances exploring the delights of colour. Jolie’s penchant for monochrome has been already exhaustively profiled, but here the colour was softened by the pivotal decision to drape and flatter Jolie’s figure rather than cling to it. If you thought the lure of the goth would be too much for Angelina to resist, this dress was a pure fashion hit, bridging sensuality and romance – and not a frown in sight.

It may well have been the dominant theme of the night, but the domino effect did not rule the red-carpet. Those who broke out from the crowd wore colour: fashion wild-cards Jessica Chastain, Sofia Vergara and Dianna Agron made beautiful choices courtesy of Calvin Klein, Marchesa and Carolina Herrera. Agron, whose fire-red Giles Deacon gown got slightly lost in translation at the Globes, made amends in a fuschia dress from Carolina Herrera. Unashamedly feminine, and gloriously uncomplicated, it was a stunning reversal of sartorial fortune. Chastain, fresh from her Oscar nomination moment whilst at the front row of the Armani Prive show, was still glowing in her light-blue gown from Calvin Klein. There was something definitely in the water when it came to the Oscar nominees: Michelle Williams also went for colour in a lipstick-red gown from Valentino. Cut away on one shoulder to reveal a sheer lace panel, Williams was definitely feeling the spirit of Marilyn in a gown that was unapologetic in its sex appeal.

Sex appeal played well across the board: Modern Family’s Sofia Vergara stuck to her guns in a pink fishtail gown from Marchesa. As someone who knows how to play to her strengths, both on screen and off, this was another home-run for Vergara who ably demonstrates the importance of dressing for the figure you have, rather than the one you want.

What was noticeable on this red-carpet was how many women looked happy and comfortable. In the run-up to the Oscars next month, you could be forgiven for assuming that as the stakes get higher, so does the pressure to go out and impress. But if anyone felt pressured, they certainly didn’t show it. Wearing avant-garde shapes and new colours takes confidence. As if galvanised by the Globes, many stars went not for the safe option, but the choice that moved them forward. Michelle Williams got her sexy on, Amber Heard got herself a whole new style reputation and Lea Michele learned that there is a sartorial freedom in not trying too hard.

The red-carpet, as much as it is a sartorial performance on a grand scale, is also a process of evolution. While some stars progress almost effortlessly to bigger and greater moments, others are quite open about their struggles to find their fashion groove, and some lessons are harder to learn than others: it’s never easy to find out the beautiful dress you thought would be a sure thing was anything but a safe bet. But contrary to popular belief, perfection isn’t what gets you noticed on the red-carpet: progress does. Angelina’s transition from Versace goth to Armani angel has been a long time coming, but her style journey has been fascinating to watch. A generation on, Lea Michele’s rare slip at the Globes doesn’t negate some of her stunning choices in previous years. She can take comfort from the fact that a fall or two does not a disaster make. In fact, it’s the one thing every style icon has in common: a distinct lack of perfection. Playing the fashion game perfectly is boring. Someone who can surprise and delight us – that’s the person who secures our interest.

If the Globes were a turning point for many, the SAGs have proved that progress can be unstoppable as it is beautiful. After this red-carpet, there’s no turning back.

HELEN TOPE

A SUBTLE ART: GOLDEN GLOBES 2012

This year’s Golden Globes were proof once again that if you want to be surprised, the Globes are your go-to reference.

Divided right down the middle, this year’s carpet split the attendees into one of two sartorial camps: light or dark. Rooney Mara, Evan Rachel Wood and Julianne Moore all went to fashion’s dark side, but there was still plenty of support for the softer palette. Nicole Kidman, Charlize Theron and Angelina Jolie were just three of the big-hitters who opted for lighter shades.

Theron continued her partnership with Dior Couture, and Angelina stunned in an ivory gown from Atelier Versace; its pristine quality only broken by a single, dramatic sweep of red. Commanding the red-carpet, the dress was an exercise in deceptive simplicity. Jolie, never knowingly under-dressed, was positively regal in a dress that was expertly cut to make a lasting impression. Sophisticated and polished, this woman was light years away from the girl who collected her Oscar in 2000, dressed in nothing but black. Angelina’s transition from goth to glam has been a slow one, but if this gown is any indication of what we can expect from Jolie in the future, the wait has been worth it.

Where actors went with a bold gesture, the gamble paid off. Tilda Swinton arrived in a pale-blue skirt suit by designer-of-the-moment, Haider Ackerman. Swinton actively provokes opinion, with the style renegade preferring Parisian edge to the Italian masters of luxe. But in these moments of defiance, Tilda reminds us why she is one of a kind. This suit came pretty damn close to avant-garde perfection.

Other highlights included Natalie Portman in a bubblegum-pink gown that showed the sunny side of Lanvin, and Kristen Wiig got serious in a beautifully-draped goddess gown from Bill Blass.

However, even in terms of red-carpet dressing, one size does not fit all. Those who opted for the darker side of glamour did not disappoint. But even the darker hues were offset with soft, romantic detail; the feathered hem of Evan Rachel Wood’s custom-made Gucci gown and the soft drapery on Rooney Mara’s Nina Ricci dress compensated for the S&M-style straps on the bodice. Hard was countered by soft, and the result was a red-carpet in perfect harmony.

Another big trend that emerged was the return of the strapless gown. Worn by Julianne Moore, Kate Beckinsale and Salma Hayek, in an evening with almost zero cleavage on display, the shoulders became the new erogenous zone. Coupled with high-necks and long sleeves, this was a night to explore new ways of revealing and concealing.

Glee’s Lea Michele went one stage further with an intricately-embroidered sheer bodice from Marchesa, dripping down into a metallic skirt. It was reassurance that if fashion was steering towards a new age of innocence, there was still some naughtiness left.

But the note that carried through the evening was softness, a demure sensibility that found it way into virtually every gown. In physics, it is said that for every action there must be an equal and opposite reaction, and this is a law that fashion applies with rigour.

As times are getting together (even in Hollywood), fashion is becoming softer with gentler colours and soft-focus silhouettes. Highly adept at providing us with what we want (before we even know it ourselves), fashion is giving us no-fuss, no-stress solutions. The carefree sartorial tone was perfect for the Globes: in a ceremony that refuses to take itself too seriously, the glamour on show was all about the art of subtlety. It is no accident that body-con was a trend persona non grata. Breaking away from the old codes of glamour, the Globes was clearly writing a style language all its own. With some of the best looks of the night being the most unexpected, the sheer variety presented meant that if you couldn’t find something you liked on this red-carpet, you just weren’t looking hard enough.

In a year where cinema celebrates heroes and villains, a red-carpet divided so definitively between light and dark cannot be that surprising. From the heroism of ‘War Horse’ and ‘The Help’, to the complex political legacies of Margaret Thatcher and J. Edgar Hoover, never has Hollywood been so brazen in its depiction of the moral maze.

This new phase that sees Hollywood explore good and evil, light and dark, with such relish takes the industry into unchartered territory. After all, this could be the year where a silent film walks away with the biggest awards: something that only five years ago would have seemed unthinkable.

Hollywood’s willingness to go deeper and take real risks is being reflected in the red-carpet. Against this backdrop, all-out glitz would just look wrong; what’s taken its place is a subtle art of red-carpet dressing. No fuss, no frills – just beautiful, epic design. 2012: it’s going to be a very good year.

HELEN TOPE