NEW GLAMOUR, NEW RULES: OSCARS 2014

It can be said that making a good impression on the red-carpet can give your career a boost, but when it comes to the Oscars, that boost can translate into a whole new chapter. Any publicity may be good publicity in Hollywood, but at the Oscars, good publicity is priceless.

No-one understands the power of a red-carpet moment better than Cate Blanchett. Ever since her debut at the 1999 Oscars, Blanchett has understood how to strike the balance between being different and being appropriate. With a series of Oscar hits under her belt (including her previous Oscar win whilst wearing canary-yellow Valentino), all eyes were on Blanchett to see what she would pull out of the bag for her moment as Best Actress nominee.

Cate didn’t disappoint, arriving in a custom-made Armani Prive gown. In a shimmering champagne gown with exquisitely worked beading, Blanchett’s transition from critics’ favourite to bona fide film star was complete. Cate’s transformation has been fashion-led all the way. From January when she showed she meant business in black-lace Valentino, her newly-defined star status has been thrilling to watch. Blanchett’s love of fashion has found its voice this awards season, with Blanchett trying on every style on for size. Blanchett’s previous flirtation with high-end, directional fashion has broadened into an intelligent glamour that has taken her personal style onto new heights.

She dazzled in an Armani gown that was notable for its restraint: the heavily-embellished dress had a lightness of touch that made this take on classic Hollywood glamour feel new and fresh. With softly-waved hair and make-up that was pitch perfect, Blanchett may have yielded to glamour on her road to that Best Actress Oscar, but it was all done on her terms. With no obligatory nods to the big trends, every look during the awards circuit has stood on its own merits, making Cate a stand-out at every ceremony. In every sense, 2014 really has been Blanchett’s year.

This season has seen many fashion triumphs, and no-one made a bigger impact on the red-carpet than Lupita Nyong’o. Virtually an unknown 6 months ago, Nyong’o is now a fashion favourite – and multi-award winner.

Her simple red-carpet formula of primary brights paired with bold silhouettes has been a knockout, with Lupita impressing from the very start of this awards season.

It all culminated in her appearance at the Oscars, wearing a custom gown by Prada; the delicate, Nairobi blue pleated gown was a romantic, sweeping statement. Lupita was unmissable on the red-carpet – in a year dominated by metallics and neutrals, Nyong’o opting for colour was the smartest choice of the night.

Accessorised with crescent earrings and a specially-made diamond headband, Lupita’s appearance was understated yet bursting with confidence. For those who have followed Lupita’s first steps into red-carpet glamour, this Prada gown was merely a promise fulfilled: while Blanchett has transformed into a Hollywood great, Lupita has become fashion’s newest obsession. Her innate understanding of how fashion works, coupled with her fearless approach to colour and shape means that Nyang’o has set the standard for ingénues – rewriting the rule that it takes time to find your fashion feet. Lupita’s style hit the ground running – and following that is going to be a very tough prospect for the next big thing.

The Oscars was a return to form for many of the stars attending: Jennifer Lawrence and Amy Adams in particular have had a very mixed reception to their red-carpet picks. While Adams’ electric-blue Berardi gown at the SAG’s proved to be the hit of the night, her BAFTAs and Golden Globes outfits reached no firm consensus with the fashion pundits.

But Adams returned to the Oscars with a bang – wearing a perfectly tailored gown by Gucci Premiere. Its expert construction was famously put to the test when Adams got her groove on during Pharrell Williams’ performance during the ceremony.

Jennifer Lawrence also saved the best for last, as she arrived in a tomato-red peplum gown by Dior. With only the peplum frills as the detail, the vibrant colour let Jennifer shine. It also proved a canny choice when she took part in ‘that’ selfie – Bradley Cooper may be front and centre in that photo, but your eye goes straight to Lawrence in that bold hit of red.

The most noticeable trend of the night was a blend of metallics and neutrals. Stars eschewed the brights and prints seen on the runway for Spring / Summer 2014, and went with camera-friendly shades.

Angelina Jolie led the way in a shimmering bronze gown by Elie Saab. If you wanted refinement and elegance on Oscar night, Angelina was only too happy to oblige. Beautifully matched with hair and make-up that spoke of discreet luxury, this look was typical Brand Jolie. Angelina doesn’t need bells and whistles to look good – her headline-grabbing appearances in head-to-toe leather have been replaced by an easy elegance that is grown-up without being stuffy. Jolie has become the best in the business at putting this look together. She has been imitated many times – but never bettered.

The neutrals were also hitting home runs with Naomi Watts, Meryl Streep and Kate Hudson in shades of white.

Hudson’s appearance in Atelier Versace was one of the most striking looks of the evening, with Kate channelling Eighties glitz in a beaded gown with shoulder detail, accessorised simply with side-sweeping curls. The 80’s shoulder had its own micro-trend moment, also being worn by Camila Alves, wife of Best Actor winner, Matthew McConaughey.

Camila gave a masterclass in how to dress when your husband’s massive career gamble has paid off – in spectacular fashion. Bucking the expectation of a nominee’s spouse to fade into the background, Camila garnered as many column inches as Blanchett and Nyong’o in softly draped pink, courtesy of Gabriela Cadena. The gown was elegant power-dressing personified – and put Camila (and Cadena) in the fashion spotlight.

It was a night of firsts: with first-time nominees scooping Best Actor and Best Actress. The relaxed atmosphere, led by presenter Ellen De Generes, set the tone for a bright and breezy Oscars that (quite literally) had everyone up and dancing. The emphasis on fun over formality was a ratings-winning strategy, and a philosophy that spilled over onto the red carpet.

Instead of following the trends and labels of the moment, nominees and presenters alike created their own fashion rules, opting for classics, with rare touches of colour among the metallics and neutrals.

But the difference this year was subtle but crucial: the red-carpet was a reminder not to equate classic with boring. The exquisite detailing of this year’s gowns was the big story – if you were looking closely enough. Whether it was pleating, draping or light-as-air beadwork – the beauty was all in the finer detail.

Gowns that demand a closer look have definitely been the overarching theme for this year’s awards season. The confidence to go with a look that’s not off-the-peg is a reassurance that Hollywood is starting to craft its own fashion narrative – one that defines and expresses star status (and star potential).

Every gown had its own story to tell: the pale-blue pleated gown worn by Lupita Nyong’o revealed an ingénue full of self-confidence; the champagne gown worn by Cate Blanchett was a dress fit for Hollywood royalty, but its emphasis on restraint puts Blanchett in a rare category of star – where the role really does come first.

Almost without exception, everyone brought their sartorial A-game to the ceremony, and the result was a carpet where modern detail was etched onto timeless silhouettes and bold, contemporary colour brought freshness and vivacity to classic shapes.

It was the least trend-defined Oscars carpet in recent memory, with stars delivering a very personal interpretation of what glamour meant to them. With Cate Blanchett, that was couture detail – with Amy Adams, it was impeccable fit.

This individual approach made for a very unique red-carpet experience – one that played outside the rules, challenging our preconceptions of what a red-carpet event should look like. In making it personal, they made it beautiful. It will be a tough act to follow, but for awards season 2015, the game is well and truly on.

HELEN TOPE

 

IN BLOOM: GOLDEN GLOBES 2014

While the Golden Globes have a reputation within the industry as being one of the more relaxed ceremonies, when it comes to the red-carpet, there is everything to play for. As the first big awards show of the season, the Globes provide an opportunity to start off your style campaign with a bang. After returning to the awards circuit after several years away, expectations could not have been any higher for Best Actress winner, Cate Blanchett.

Coming back with a powerhouse performance in ‘Blue Jasmine’, Blanchett created a major stir in Armani Prive.

This lace gown took a high neckline and scooped back as its grace notes; the exquisitely-handled lace sat proud as if moulded to the body. This dress was tailor-made for the scrutiny of a red-carpet, giving us something from every angle. It was not only a perfect performance by Blanchett, but it was a tutoring by Armani in how to create a moment.

To be dramatic without being garish is a feat best performed by experts and Armani’s gown for Blanchett was effortless in its beauty. No fuss, just top-drawer craftsmanship, all done without compromising a star’s modesty. This gown veiled and bared in equal measure and the effect was pure theatre.

Blanchett’s choice, kicking off the 2014 circuit, took the lace gown – something so familiar – to a whole new level of elegance and sophistication. It was an unexpected choice, making Blanchett a standout on a carpet that boasted plenty of highlights.

It was a night to celebrate female talents at the top of their game, both in terms of career and style. Helen Mirren made a lasting impression in an exuberantly colourful gown by Jenny Packham, and Taylor Swift also got the colour memo, wearing a two-tone gown by Carolina Herrera.

Presenter Amy Poehler also impressed with a sleek, column dress from Stella McCartney. These choices, while undeniably diverse, all had one thing in common: they perfectly illustrated where each woman was in her career. The coming-of-age charm of Swift’s gown was just as powerful a statement as Poehler’s dress that exuded a quiet confidence.

Another key trend of the evening had to be pregnancy chic, with Kerry Washington, Olivia Wilde and Drew Barrymore all turning up with a very special plus-one.

Each gown was a custom-made creation, with designers working with the stars to create a unique design that demonstrated that personal style doesn’t have to be put on hold during pregnancy. Washington kept to her love of high-fashion in an apple-white Balenciaga gown; Olivia Wilde applied her signature glamour in a tight, beaded Gucci. But the sweetest look belonged to Drew Barrymore, whose flower-strewn Monique Lhuillier gown was ultra-feminine but stayed true to Barrymore’s boho style. It was a stroke of genius, making Barrymore one of the night’s Best Dressed.

However, it was left up to new faces on this year’s carpet to provide some of the biggest ‘wow’ moments of the night. ‘Wolf of Wall Street’ star Margot Robbie made her debut in a white Gucci gown that was studded with green crystals. The look was kept modern with a sleek, minimal cut – perfectly matched by hair and make-up. This was Robbie’s chance to make Hollywood sit up and take note – and it wasn’t an opportunity lost.

Keeping it simple is always a good tip for newbies, and no-one took this more to heart than ’12 Years a Slave’ nominee, Lupita Nyong’o. Wearing a scarlet dress by Ralph Lauren, Lupita handled the red-carpet with ease and aplomb.

This caped wonder would be a bold choice for anyone – ironically, the one colour guaranteed to make you stand out on a red-carpet is red – but an astonishingly-assured debut for a newcomer. Lupita played it cool in front of the cameras, impressing across the board. This was red-carpet style with class. This Ralph Lauren gown is so striking it can only be worn any degree of success as if it were a treasured pair of battered jeans, and Nyong’o wore this show-stopping number as if it was something she wore every day. Lupita’s coolness under sartorial pressure was the lasting impression every new face wants to make.

What also piqued interest on this year’s carpet was the sight of stars not only upping their fashion game, but attempting to take their personal style to the next level.

‘Modern Family’s Sofia Vergara is a perfect case in point of not changing something that isn’t broken. Her reputation for glamming up the carpet with slinky, mermaid-tail gowns is well-founded. No-one does sex-appeal quite like Vergara.

This year, Sofia did a 180 and arrived in a romantic ball-gown from Zac Posen, accessorised by a bold turquoise collar from Lorraine Schwartz. The look divided as many as it won over; those who wanted Vixen Vergara were left disappointed. But the famous curves were still in evidence, but more alluded to this time around. It was a bold move for a star whose red carpet style is so recognisable it has become her trademark. Next year may well see Sofia returning to her fashion comfort zone, but this year can be enjoyed as an elegant (if solitary) departure.

Another surprise came from ‘Veep’ nominee Julia Louis-Dreyfus. A red-carpet regular, Julia wins plaudits for her figure-hugging metallic gowns. Keeping the same silhouette, Louis-Dreyfus went all out this year in a bright, zingy coral that just invited us to delve into the new season, head-first. It was a smart colour choice, leaving Julia looking youthful, fresh and current.

A red-carpet full of surprises is always one to remember, but the overall feeling of optimism and joie de vivre was hard to miss. Nothing felt cynical or calculated, the trends were there, but applied with subtlety and grace.

Across the board, this year’s choices were guided by love; whether that meant embracing novelty, expressing a genuine love for fashion, or looking to the future. This was a carpet in bloom, full of life and just getting started.

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

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

IN PRAISE OF…COUTURE

While the rest of us struggle with the January blues, fashion is firmly in 2012 with couture season ending this week in Paris. Traditionally worn by socialites, couture’s fanbase has somewhat shifted over the years, taking in new pockets of wealth from around the globe.  Once described as a dying art, haute couture has had a new lease of life in recent years with Hollywood coming to Paris, hungry for a taste of the most exclusive fashion in the world. The Armani Prive show got its very own Hollywood moment when Jessica Chastain got the Oscar call whilst seated in the front row. Armani has a long history in dressing Hollywood, and the Prive collection has proved incredibly popular. This season’s collection was tailor-made for starlets, with sequinned bodices and incredible beaded gowns in glorious shades of green. The silver chevron gown in particular was a winner, just begging for a chance to shine on the red-carpet.

The most controversial note of the week was struck by Jean Paul Gaultier. Forming an entire collection in tribute to singer Amy Winehouse, from the trademark peroxide sweep in the models’ beehived hair to the pencil skirts worn with attitude, this was a collection with a sole purpose. Celebrating Amy’s unique style, which so neatly dovetailed with her music, Gaultier may have hit the headlines but this act was far from cynical. Gaultier’s collection had a poignancy that hit you right between the eyes, asking us just one question – what if?

While JPG was exploring the past, Karl Lagerfeld at Chanel was setting his sights squarely on the future. The light, airy feel of icy-blue and deepest navy formed the perfect backdrop for Lagerfeld’s newest take on femininity. Drop-waists on dresses, slouchy pockets and hair sculpted into sky-high quiffs – this was Chanel in familiar territory: boy meets girl. A welcome departure from Chanel’s previous post-apocalyptic seasons, this collection was bright, breezy and above all else, very, very cool.

Winning the prize for sheer number of hours spent on the sewing floor, Valentino’s design duo, Pier Paolo Piccioli and Maria Grazia Chiuri, took craftsmanship to the next level. With a reported 350 hours spent creating just one piece, the result was a couture show packed with ethereal, heart-stopping detail. Taffeta, lace and organza took centre stage but underpinning the whole collection was the reminder that these dream-like creations were made by hand. Ever y piece was so finely stitched, those who examined the pieces up close at the atelier, had to remind themselves that this was all human endeavour. Piccoli and Chiuri first made their name as accessory designers, and as they told www.style.com, they quickly learned how to ‘tell a big story with a small object.’ It is in the small details that the big picture comes to life, and this is the essence of couture. Piccoli and Chiuri understand very clearly how story-telling in fashion can come down to the smallest stitch.

With Chanel, Valentino, Armani and Versace appearing in such good health, it seems that reports of couture’s demise have been greatly exaggerated: in 2009, haute couture was deemed to be on the brink of extinction. After all, in a financial maelstrom, who would possibly want a blouse at £20,000? But three years later, couture is thriving thanks to new customers in China, Russia and beyond. There has been murmurs about whether this has led to a more consumer-friendly couture, rather than the wild, playful exploration of ideas it was ten years ago, but the deal with couture is that it can be both.  From Riccardo Tisci’s Metropolis-inspired, highly restrained collection to the glamazon excesses at Versace, the beauty of couture is that there is room for every kind of expression. This is no time for half-measures – fashion needs diversity in order to survive. Couture is no longer about indulgence, but fearless, game-changing creativity. Haute Couture has evolved into an entirely different kind of animal, and its timing is perfect.

HELEN TOPE