CHINA THROUGH THE LOOKING GLASS: MET GALA 2015

Every year, I write a review about the Met Gala. Held as a fundraiser for the Museum of Metropolitan Art’s Costume Institute, each year, a new fashion exhibition is launched, and the fundraising Gala takes its theme from that exhibit.
This year’s exhibit – and theme – was ‘China: Through the Looking Glass’. A country with a strong, visual-cultural identity, China holds a unique place in fashion history. Exploring “the impact of Chinese aesthetics on Western fashion”, the exhibition (open from 7 May) features archive pieces from designers including Tom Ford and Roberto Cavalli.
The yearly Gala theme is where the rule-making begins and ends. It is intended as a challenge to both designers and the stars they are dressing. This Gala is no ordinary red-carpet, but fashion at its most daring. It is a chance to let loose, to show real creativity. To do the Gala properly requires putting your ego to one side and taking a risk.

Like the notoriously-tricky Punk theme from the 2013 Met Gala, ‘China: Through the Looking Glass’ is an idea crowded with possibility as it is beset by hazard. You can go literal, bold, dramatic – or refined, subtle, applied with the lightest touch. I firmly believe that, with such a dynamic theme, either approach is valid. The iconography of China is so visually immediate; we know the shapes, the fabric and the detail. We’re familiar with the nuts and bolts – the question for the Gala’s attendees was how far they would go in exploring the drama, opulence and tradition.
Many chose to tread softly with a diluted interpretation including Kendall Jenner’s beaded sheath gown from Calvin Klein and Anne Hathaway’s exquisitely simple gold hooded gown by Ralph Lauren. What was interesting about this year’s theme was that you could split, fairly evenly down the middle, those who approached with caution the idea of China as a fashion influence, and those who went for broke.

The big, bold statements are what the Met Gala is made of – but this year, the theme of ‘China: Through the Looking Glass’ led many to question where the line between homage and cliché gets drawn. No-one is pretending that the Met Gala is the place you go to for a considered take on authentic, traditional dress – but with the Gala’s reputation for daring, it had to be asked: how far is too far? Should a theme be taken to its most extreme interpretation, or should some restraint be applied?
Twitter buzzed with these questions as photos from the Gala flooded social media. Some commentators went as far as to dub the theme ‘racist’, others pointed out that the looks owed more to China’s fashion history than its future.

Despite the misgivings, there were definitely highlights to be found. Those who approached the theme with confidence made the biggest impact. Actress and fashion IT girl Fan Bingbing wore a copper, sequinned gown with an incredible decorated cape by Beijing-based designer Christopher Bu. This was a simply gorgeous collaboration; the streamlined silhouettes underscored by the fabulously ornate beadwork. The approach of combining pared-back shapes with sensational, bold decoration worked for many.

Making a supermodel look good is not exactly fashion’s most onerous task, but Atelier Versace managed the double with both Karlie Kloss and Rosie Huntington-Whiteley wearing the label. Sleek, modern design with hits of opulence took the Gala’s theme to the next level. With China producing the next wave of super-rich consumers, translating China’s history into something more contemporary was a stroke of genius for labels such as Versace, who are actively wooing this eager-to-spend customer base.

These statement looks, however, were in a minority. This year’s theme cried out for bold, expressive interpretation. What we got instead was a lack of innovation. Rihanna’s cape by Guo Pei was one of the exceptions, with its couture-like-grandeur stealing the headlines. The cape took two years to make, and while it wasn’t to everyone’s taste, Rihanna once again proved that when it comes to fashion, she has no fear.

If everyone had adopted Rihanna’s gusty approach to red-carpet dressing, the night would have been very different. Timidity made for a very muddled sartorial message, and ended up with attendees going down tried-and-tested routes: it’s no mistake that both Jennifer Lopez and Beyonce went with skin-baring beaded gowns. It may well be true that there is nothing truly new under the sun, but this year’s Met Gala cried out for a fresh approach.
As for the accusation of racism, those who took offence at the Gala’s theme were considering the night from the wrong angle. For a night called ‘China: Through the Looking Glass’, the fact was that most of the designers worn were from Europe and America. If Twitter needed to get worked up about an issue, this was it. ‘China: Through the Looking Glass’ should have been the perfect vehicle to showcase up and coming Chinese design talent. Only a few attendees chose to do this; everyone else went with the familiar – both in terms of the dress being photographed, and the designer label on their back.

If the Met Gala should stand for anything, it needs to get braver about exploring new ideas from new voices. A fashion industry that does not evolve stagnates – and that was the feeling of this year’s Met: nothing felt new or vibrant. We had, quite literally, seen it all before.

Every year I write a review about the Met Gala, but this is the first year where the celebration of fashion has taken a back seat. A bold statement worn with conviction can never truly be wrong, and it was sad to see people blatantly ignoring their own instincts and going with what they thought would meet approval. The fear of offending, of getting it wrong, has ironically ended up with the Met Gala doing just that. Instead of the same names, the same style signatures, how about next year celebrating fashion’s future instead? There’s some incredible talent out there, and what better platform could there be for making it visible? If the Met Gala wants to keep its reputation for fashion daring –it’s high time it earned it.

HELEN TOPE

A STYLE REVOLUTION: OSCARS 2013

As the Awards Season draws to a close, this year’s Oscars can boast its fair share of drama: unexpected wins, history-making moments and a coup de theatre via The White House that took everyone by surprise.
While the action on stage never seemed to take pause for breath, the pace of the red carpet was just as thrilling: even from the first arrivals, it was clear that sartorial surprises would be the theme of the night.

Anne Hathaway, one of the big winners of the night (and throughout this Awards Season), not only turned up in a different dress, but one made by a different designer. Touted as being one of the actresses expected to turn up in Valentino, Hathaway made a switch at the last minute, opting for Prada.
The pale pink gown, paired with Tiffany jewels, looked to be inspired by her post-Les Miserables crop. The simplicity of the cut, with the heavy-duty satin, referenced Sixties starlet with a modern twist. Unfortunately for Hathaway, making a last-minute switch with her gown yielded mixed praise from the fashion pundits. Wearing satin is a gamble: a notoriously difficult fabric to work with, it is also tricky to wear without puckering or creasing. The gown, though not without its charms, looked like a last minute decision: the styling looked rushed, with the jewellery chosen not working with the high neckline. Luckily for Hathaway, this was her big night, and when you have a gold statuette as your chief accessory, nothing else really matters.

The pale trend continued with both Charlize Theron and Oscar winner Jennifer Lawrence both opting for Dior Couture. It was a brilliant night for the French couture house, with Raf Simons ably demonstrating how to dress two very different women. Theron, a red-carpet regular, appeared in a piercingly-white two piece, with a beaded peplum detail. Matched with Theron’s new pixie cut, it was cool, sophisticated and modern couture at its best.

But if you wanted full-on drama, Jennifer Lawrence’s Dior gown offered it up in spades. The fitted three-quarter bodice flowing into a voluminous skirt photographed beautifully both on the carpet and at the ceremony. It never seemed to overwhelm Lawrence, even though it did at one moment threaten to halt proceedings when Jennifer slipped on the steps when collecting her award. Epic in scale, and impressive from every angle, it was a gown that endowed the winner with authority and elegance: for an actress taking her career to the next level, this dress was an inspired choice.

Nude shades got a lift when early arrival Jessica Chastain appeared on the carpet in a copper-toned gown by Armani Prive. Expertly beaded to enhance her best features, Chastain wisely accessorised with a maroon-coloured lip and softly-waved hair. It had all the Old Hollywood references you could wish for: combining traces of Veronica Lake and Ava Gardner, Chastain oozed glamour but her no-nonsense styling kept it contemporary.

Someone else who got the ‘softly softly’ memo was last year’s winner for Best Supporting Actress, Octavia Spencer. Staying loyal to one of her favourite designers, Tadashi Shoji, Spencer worked the pale and interesting trend to perfection. Wearing a nude beaded chiffon gown with a stole sweeping across her shoulders, Spencer looked every inch the returning star.

But where some chose to tread lightly, others decided to dazzle with colour and depth. Naomi Watts, nominated for ‘The Impossible’, arrived in a gunmetal gown by Armani Prive. With the asymmetric neckline looping around Watts’ shoulders, this was a directional look not for the faint of heart. Thanks to the attention to detail customary with Armani Prive, this beautifully-worked gown was no gimmick, but one of the most memorable looks of the night. You had to wonder if those who played it safe regretted their choice when seeing Naomi.

Red is always a red-carpet favourite, and it made a comeback with nominee Sally Field and presenter Jennifer Aniston appearing in scarlet Valentino. Aniston made a rare departure from her usual modus operandi of black and figure-hugging to venture into the world of couture. Her strapless gown, with typically Aniston low-maintenance styling, was unexpected, but showed that Jennifer is not a one-note fashionista.
Sally Field also impressed with a Valentino attention-grabber. Softly gathered at the waist, the long-sleeved gown was age appropriate without piling on the years. Covering up can sometimes be misconstrued as ageing up, but the sheerness of the sleeves and the emphasis by Valentino on fitting the fabric close to the body, made this nominee one of the evening’s Best Dressed.

There is always one attendee who’s happy to stand out in a crowd, and this year that person was Kerry Washington. Already proving to be one to watch after a sartorial grand-slam this Awards Season, Washington turned up to the Oscars in a coral gown by Miu Miu.
Taking the Sixties as her trend reference, this beaded bodice with column skirt was a fresh wash of colour, on a carpet where everyone else seemed to be wearing red, black or nude. Already accomplished at picking the best of the runway, this was a textbook red-carpet appearance for a woman known for her love of fashion, and the good news for Kerry is that the feeling is mutual.

Another attendee who bucked the trends was Jennifer Garner. At the Awards to support husband Ben Affleck, Garner had a fine line to tread. Wanting to dress with gravitas appropriate for the wife of a nominee, but not to draw attention away from him, striking the right balance can be almost impossible.
Thankfully, Jennifer made the right call with a plum-coloured gown by Gucci. From the front, the gown was a strapless column; but the back was covered with gloriously effervescent ruffles. A dress built for business and pleasure, this was a fun take on the traditional ‘supportive wife’ outfit. Paired with a stunning platinum diamond collar by Neil Lane, Garner’s was one of the stand-out looks of the night.

While some of those attending fell short of our expectations, there were some surprises that made this Oscars red carpet one of the most interesting in years. Some took risks, others upgraded their style and others just went all out to impress. Those who dared to be different made the biggest impact, choosing gowns that hinted of Oscars past and Oscars future. The vast majority of looks fell wide of the fashion radar, with many choosing to bypass trends altogether, opting for gowns that inspired and flattered. Rather than trying to dress to trend, the Best Dressed of the night wore gowns that defied categorisation making for a red-carpet that was bold, beautiful and full of intelligent choices. Invigorating and proudly individual, this year’s red-carpet bore witness to a style revolution.

HELEN TOPE

EASY GLAMOUR: GOLDEN GLOBES 2012

The Golden Globes have always been known for doing things a little differently and this year was no exception. From its presenters, Tiny Fey and Amy Poehler, to Jodie Foster’s inspirational speech when accepting her Lifetime Achievement Award, 2013 was clearly the year the Globes celebrated girl power.

This feel-good factor also crossed over onto the red carpet, with many of the attendees choosing to bypass of-the-moment trends and go with classic shapes and block colours. The detailing was textbook Hollywood, with intricate beading and lace adding the final touches.

There was a noticeable inclination towards lighter colours, and nude, blush and peach tones set the pace, with Kerry Washington, Megan Fox, Jessica Alba and Lea Michele all opting for the lighter side of pale. These complexion-friendly shades suited everyone who wore them, with Alba in particular wowing in a fishtail gown by Oscar de la Renta.

Amy Adams, nominated for her role in ‘The Master’, came up trumps in a pale pink Marchesa gown. From head-to-toe, this was a winning look. While Marchesa took care of the finer details of the dress, Amy’s glam squad turned team-work into an art form. Taking retro glamour as their starting point, from Amy’s demi-waved hair and soft, glowing make-up, this approach of joined-up thinking translated brilliantly on the red carpet. It was a complete look; well thought-out and well executed. It was a coherent look that referenced Hollywood’s golden age, but crucially retained a modern edge.

If the night belonged to anyone, it was Anne Hathaway’s for the taking. Revelling in her win as Fantine in ‘Les Miserables’, Hathaway gave us sleek, glossy sophistication. Wearing a beaded two-piece from Chanel Haute Couture, accessorised with minimal jewellery, this was Anne’s moment to step up. Eschewing a big, dramatic style statement, Hathaway took it to the next level by having the confidence to wear a look that made sure all eyes were on her. This kind of look can leave you vulnerable: there is literally nowhere to hide. No tailoring tricks or styling sleight of hand. It was a brave choice, but one that ensured that Anne was the star of the show. A new personal best for Hathaway, she won by making simplicity beautiful.

But for the stars who wanted colour, there were plenty of options. Naomi Watts, nominated for her role in ‘The Impossible’, went for a deep burgundy dress from Zac Posen, complete with long sleeves and a daringly scooped back. On a night that was chilly (by LA standards), Watts’ choice was a trend-leader. It seems that Hollywood’s leading ladies no longer believe in the premise of suffering for their art: both Kate Hudson and Helen Mirren staved off the goosebumps with long sleeves. Hudson’s inky-black gown from Alexander McQueen was a departure for her, but one that worked incredibly well. With a midriff-grazing V, this gown was just the right blend of elegance and downright sex appeal. Helen Mirren also went for black and gold, wearing a waist-sculpting gown by Badgley Mischka. With a bold, graphic design that made the most of Mirren’s figure, it was an open challenge to anyone who equated being covered with being frumpy. These gowns were glamour personified.

The colour of choice for the night was red. But not the usual pillarbox red, favoured by A-listers, but a softer, muted red that felt entirely in keeping with the mood of the evening. Award winner Jennifer Lawrence opted for a gown in this shade, designed by Dior Haute Couture. Currently the face of Dior along with Marion Cotillard, Lawrence’s strapless ball-gown exuded a quiet confidence. Keeping a youthful edginess by pairing the gown with a silver belt, this dress gave us envy for all the right reasons.

In terms of shape, the halterneck made a storming return, with both Claire Danes and Jessica Chastain favouring this look. While Danes wowed in a soft-red Versace, with gatherings at the waist (perfect for Danes’ post-baby bod), Chastain went for an ice-blue dress by Calvin Klein. Rumoured to be a last-minute switch (Jessica had earlier committed to a different design but changed her mind), the gown had not been tailored to Jessica’s frame. With halternecks, fit is everything, and without those tiny but important adjustments, the gown sat on Chastain without adding definition to her shape. It was a rare blip for Jessica, who has had plenty of stand-out moments.

For all its emphasis on easy-to-wear colours and fuss-free styling, this red carpet reinforced the importance of preparation. Amy Adams’ sartorial winner was all in the detail; a gown impeccably tailored and the hair and make-up designed to perfectly dovetail with the aesthetic of the dress. There may be times when you can wing it (think of Sharon Stone’s famous Gap turtleneck moment at the 1996 Oscars), but for the most part, planning is absolutely necessary. On the red carpet, a little effort really goes a long way.

With so much pressure on attendees to come out fighting, the temptation to over accessorise or pick a hair style that fights against the dress can be overwhelming. In a sea of famous faces, standing out isn’t easy and a girl can lose her cool. But those who kept their heads came out on top this year. The overriding theme of the night was easy glamour: softer shapes, gentle colours and minimal styling meant that this year’s Golden Globes carpet had a timeless feel.

There’s definitely fun to be had in exploring the latest trends and grabbing that gown straight off the runway, but red carpet pictures do have a habit of hanging around.  A gown that can’t be easily pigeonholed into one era, or one trend, has a longer shelf life. Naomi Watts’ gown was triumphant because it could just as easily be this season’s hit or one-of-a-kind vintage. Looks that are in it for the long haul tend to be the best at making a genuine and lasting impact. Just ask Sharon Stone.

The Globes was a night that celebrated sophistication in every conceivable guise. Heralding a new subtlety this red carpet still had its glamour, but re-interpreted with fresh shapes and bold textures, for a fashion savvy generation. With this new style agenda set firmly in place, what comes next really is anyone’s guess.

HELEN TOPE