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

PLAYING BOLD: GOLDEN GLOBES 2015

When it comes to writing about fashion, the space occupied by the red-carpet is quite unique – the red-carpet gown has a lot to live up to: as well as being current, it must be relatable, making its wearer seem likable, charming but still very much exuding star-power.
The temptation to play it safe and fade into the background must sometimes be overwhelming – braving it out with a daring colour or new style direction is a total high-wire act: get it wrong and the evidence will be internet fodder for the next ten years. Getting it right requires a bit of fashion know-how and a whole lot of nerve – luckily for us, at this year’s Golden Globes, playing bold was the game of choice.

(Kate Hudson wearing Atelier Versace)

This gutsy approach was self-evident very early on, with white gowns turning up in large numbers. Despite its reputation for being tricky to wear, white is a red-carpet staple; beloved by ingénues and more established names alike. Its versatility is the key to its popularity – it can be sophisticated (Julia Louis-Dreyfus, Narciso Rodriguez); sweetly feminine (Keira Knightley, Chanel) and even cutting edge (Rosamund Pike, Vera Wang). White never blends in and there’s a shade to suit every complexion, with stars including Reese Witherspoon, Salma Hayek and Emily Blunt all wearing (very different) interpretations of this classic neutral.

(Julia Louis-Dreyfus wearing Narciso Rodriguez)
Kate Hudson wowed in an all-bets-are-off Atelier Versace, with wickedly unforgiving cut-out detail. Versace smartly pushed the dress to its limits, but even with serious skin on show, what you noticed about Hudson’s look was how the fabric draped, rather than clung, creating an easy elegance that made Hudson instant click-bait. Playing with our perceptions is Versace’s go-to move, and turning super-sexy into red-carpet-appropriate was the work of a (very adept) sleight of hand – and Hudson looked simply fabulous.

(Diane Kruger wearing Emilia Wickstead)

From one extreme to another, Diane Kruger was positively regal in a high-necked, vintage-style gown by British designer Emilia Wickstead. While a traditional choice, Kruger’s pared-back styling meant this look was far from stuffy. Kruger is normally a fan of couture-like detail, wearing highly decorated pieces, and to see her in such a simple design was a welcome change of pace.
The headline to take away from this year’s Golden Globes red carpet, though, was the re-emergence of colour – this time not as an accent, but as the main event. Blues, reds, pinks and purples saturated the carpet, lifting the rain-soaked event with a wash of exuberant colour.

(Amy Adams wearing custom Versace)

The most successful attempts at colour were those who wore shades that complemented skin tone: Amy Adams demonstrated this with aplomb in a delicate shade of lilac-tinged blue that worked perfectly with her pale skin and red hair. Dressed by Versace in a one-shouldered, neo-Grecian gown, this elegant offering was vintage-inspired but clearly an expertly-fitted custom design. Adams has a track record of beautiful red-carpet moments wearing blue – but it will take an impressive gown to knock this Versace off the top spot.

(Gwyneth Paltrow posing for an Instagram snap, wearing Michael Kors)

Playing to your strengths is always a good strategy for the red-carpet, and no-one knows this better than Gwyneth Paltrow. A favourite with designers including Tom Ford and Ralph Lauren, Paltrow’s recent run of red-carpet hits meant expectations were high – and she didn’t disappoint.
Wearing a bubble-gum pink gown with a plunging neckline, Gwyneth’s choice of colour was reminiscent of her 1999 taffeta Oscar gown – but that’s where the similarities ended. In the years since her Oscar win, Paltrow has learned about fashion and what suits her best – clean, athletic lines work perfectly on Gwyneth’s frame, and she looked relaxed and comfortable in a made-to-measure Michael Kors gown that had just the right degree of slink.

But while the main story was colour, sparkle was still in evidence with Julianne Moore (Givenchy), Reese Witherspoon (Calvin Klein) and ’50 Shades of Grey’ star Dakota Johnson (Chanel) all opting for decadent shimmer.

(Julianne Moore wearing Givenchy Couture)

Wearing haute couture sequins from Givenchy, Golden Globe winner Julianne Moore dazzled. Her easy-going approach to the red carpet made this sparkler of a gown fresh, contemporary and very modern. Looking at this year’s red-carpet, you’d be forgiven for thinking that traditional red-carpet glitz was off the menu – it was there; just dressed in a different way.

(left to right: Emma Stone wearing Lanvin; Lorde wearing Narciso Rodriguez)

When it came to style winners, left-field choices created the most buzz: Emma Stone in a beaded Lanvin jumpsuit was cool without being try-hard; Lorde kept it youthful but occasion-appropriate in a custom Narciso Rodriguez suit with Neil Lane jewels and Kerry Washington’s bespoke gown from Mary Katrantzou may have divided opinion but introduced a new design voice into the fray. High-fashion has often had a rough ride in finding its groove on the red-carpet, but custom design is proving to be the way forward, with many attendees this year wearing creations that were one-of-a-kind.

(Kerry Washington wearing custom Mary Katrantzou)

Going against the grain when your style forms a large part of your reputation is definitely easier said than done, but while there was still room for tradition, it was the voices of style dissent that were heard loud and clear – from those who took a gamble with a style refresh, to those who played with our expectations.
With independent films already dominating the awards race, that same off-beat sensibility has definitely found its expression on the red-carpet – and 2015 is already looking like a bolder, braver year.

HELEN TOPE

A SENSE OF TIME, A SENSE OF PLACE: COUTURE A/W 2014

We tend to think of fashion as an ever-movable feast: never resting in the same place twice. Trends come and go at a dizzying pace, setting off in pursuit of the brave and the new. But look closer, and fashion is rooted in tradition far more than a first glance would suggest.
Couture week is the most visible marker of that tradition: handmade, one-of-a-kind pieces that communicate that fashion is not just the work of single moments – flashes of brilliance that are gone in an instant – but something altogether more substantial.
Couture is often seen as the preserve of the super-rich, but this season’s collections spoke of a more collective experience: a heritage of craft and skill that offers a unique perspective on what we wear, and why we wear it.
A sense of history informed many of the key shows, with couture houses going back to their roots. While some (Giorgio Armani) celebrated milestones, other had their gaze firmly fixed on what lies ahead.

DIOR
Held at the Rodin Museum, Raf Simons’ collection for Dior Couture took us on a time-travelling journey; presenting ideas in small groups of 8-10 looks, Simons challenged us to both focus and broaden our minds.
Moving from the wide, pannier skirts of the 18th century to delicate, buttoned Edwardian cuffs, Simons introduced elements of the modern with sports luxe: silk jumpsuits and sporty tops mingled readily with ballgowns accessorised with silver bangles. The collection was untraditional from the get-go – starting with statement ballgowns, a couture staple normally reserved for a fashion big finish.
Pairing floor-grazing cashmere coats with flat shoes, this was Dior’s attempt at laidback luxury – a trend that has made serious headway since Karl Lagerfeld sent his models down last season’s couture catwalk in logo-embossed trainers. More than a passing fad, this proved to be couture’s way of translating its history of formality into a modern language of comfort. You can see this idea working its way onto the high street, with stores such as Zara producing wearable, adaptable pieces that slot into an existing wardrobe, turning us away from the buy-now, wear-once philosophy and turning us onto the habit of making considered pieces. Simons’ easy luxury will continue to see this way of dressing permeate the high street – giving us more, while we buy less.

VERSACE
While Dior added to its history, Atelier Versace had clearly spent the last six months sketching out a whole new chapter. Wowing industry insiders across the board, as precision-cut tailoring (sharp shoulders and sleek skirts) gave way to reveal plunging necklines and thigh-high slits, Versace was not only on form – it was on fire.
Versace, with this collection, was saying to the world that not only is it a fashion house in great economical shape, but a creative hub at the peak of its powers. This was couture on Versace’s terms – and their bold, sexy signature style in couture was a killer move. The Versace philosophy has always lent itself to big statements – but this was a statement of cool, creative confidence; made all the more striking when you consider that Atelier Versace only returned to the Paris runways a few years ago.
The influence of Versace’s super-feminine pieces will be a key feature this coming Autumn, with preview collections for A/W 2014 already showing long, fitted skirts; taking the maxi from boho chic to smart, tailored sophistication.
The supernova success of the Versace show has even led the fashion press to speculate that the Italians are beating the French at their own game, with Armani Prive producing a knockout collection in red and black. Forget the World Cup – this was the play-off really worth watching.

CHANEL
Chanel’s answer to Versace was a tutoring in fashion history, courtesy of Karl Lagerfeld.
It’s often said that history is important as it is impossible to know where you are going, if you don’t know where you have come from – and nowhere is this truer than in the history of fashion.
Playing on its own history, Chanel Couture offered up intricately-worked tweed coats and jackets, with baroque swirls of gold on hems and collars. Tightly-buttoned sleeves and scruffy urchin hair mixed 18th century detail with Charles Dickens’ Artful Dodger – gleeful couture that created modern notes with bags slung across the body and ribboned flats: tailor-made for women who want a little compromise in their haute couture. This was history and modernity coming together to create a clear sense of direction.
While couture-like workmanship can’t be reproduced on the high street, Chanel’s big story was texture: whether that was in fabric or embellishment, this was fashion that jumped right off the page. Expect to see 3D everywhere – from trophy jackets to stellar eveningwear.
As couture continues to wield its influence over the high street, it seems that predictions of its demise during the global recession were greatly exaggerated. Couture exceeded all expectations by adapting, and not only survived, but actively thrived.
Couture’s historical roots are the best argument for its continued survival – craftsmanship was the overriding theme of this season’s shows – proudly displaying what can only be created by hand. This is fashion designed to stand up to scrutiny in a way that ready-to-wear simply cannot. It is no longer enough to look at the individual cost of couture, but to understand the value of couture, is to understand its collective worth. Oscar Wilde said that a cynic is someone who knows the price of everything and the value of nothing – and this season’s couture collections were notable for their bracing lack of cynicism. Couture returned to the sheer, unabashed joy of creating for its own sake – and the result was a season full of fresh, bold and exciting ideas.
Couture survives because it is tradition, but a tradition that sets its sights on what’s to come. Fashion will always have flashes of brilliance, but for the truly great ideas, the ones that persuade us to change what we wear and why we wear it, couture remains king.

HELEN TOPE

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

 

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

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