ELEGANCE: IT’S THE NEW BLACK (SAG AWARDS 2015)

Following on from the bold statements worn to the Golden Globes, you’d be forgiven for assuming that this year’s red-carpet trajectory is all set. But just a few weeks on from the Globes, the arrivals at the SAGs pressed the re-set button, and presented us with a modern interpretation of classic elegance.

Old Hollywood glamour was back in numbers, with Reese Witherspoon, Naomi Watts, Camila Alves and Gretchen Mol all giving us classic looks. Whether it was one-shouldered pristine Armani (Witherspoon), or prettiness-personified grey beading by Dennis Basso (worn by Gretchen Mol), this was familiar ground: classic red-carpet masterfully executed.

Reese’s exquisitely-tailored gown from Armani was a great example of how deceptive simplicity can be. A gown (and colour) that would show even the tiniest imperfection? It was a brave choice by Witherspoon, but thanks to Armani’s unique brand of assurity, she wore this gown with complete confidence, and confidence always ensures a place on the Best Dressed list.

The importance of fit was exemplified by red-carpet regulars Naomi Watts and Camila Alves. Watts, in a navy off-the-shoulder Balenciaga, looked effortlessly chic, while Alves chanelled sophistication in a perfectly-worked gown by Donna Karan Atelier. The folds and drapery of the strapless plum dress flattered Camila from every angle. As a model, Alves was always going to have a head start, but a little help from world-class couture never hurts.

The transition from statement to sleek continued with the British contingent too, with ‘The Theory of Everything’ star Felicity Jones serving up red-carpet glory in a blush-tinted Balenciaga gown. The French label has sometimes had a reputation for being hard to translate onto the red-carpet, but this new direction leaning towards the label’s vintage roots has been a joy to watch. Felicity’s gown, with a simple criss-cross detail, was elegant and refined, while retaining a contemporary edge. Worn with very few accessories, this vintage look read as the most modern of the night. Jones, who is also nominated for a BAFTA and Academy Award, is going from strength to strength: her self-assured choices are making her as eagerly watched as the established names, of whom great things are always expected.

It’s just as well, then, that the regulars didn’t disappoint. Julia Roberts wowed in classic Givenchy tailoring – she always carries masculine silhouettes well, but this beautifully-crafted suit made the most of Roberts’ assets, creating a look that was both spirited and individual.

The tailoring theme continued with Emma Stone, whose Dior tuxedo with a twist roused one of the biggest stirs. A tuxedo that fell away into a full-length chiffon skirt, this was Parisian glamour with a cool-girl edge, and perfectly pitched for fashion-lover Emma. Worn with pulled-back hair and a bold, red lip, Stone’s high fashion joie de vivre was tempered with a dash of Dior sophistication.

Elsewhere, red-carpet regulars were happy simply to give us more of the same – but when your ‘same’ is Givenchy Couture, it’s not exactly a hardship.

An almost-cert for the Best Actress Oscar, Julianne Moore’s run of perfect style 10’s continued with this emerald, beaded gown. It’s a shade she’s worn before (most notably the ruffled Tom Ford for YSL gown in 2003) and when a colour looks this good on you, it’s rude not to. Moore’s ability to wear couture with ease makes her a great clothes horse for any designer, but with Givenchy, Julianne really has found a partnership that works. Accessorised with Chopard jewels, this was another fully-fledged moment for Moore, and I’ll place the easiest bet this year in saying there’s even better to come.

While this was a red-carpet filled with chic, elegant looks (special mentions go to ‘Downton Abbey’s Joanne Froggatt in Honor and Viola Davis, graceful and gracious, in Max Mara), there’s always a surprise tucked away for us red-carpet fans.

This year, it was a resounding hurrah from ‘Game of Thrones’ star Gwendoline Christie. Standing at a couture-ready 6′ 3″, Christie wore – what else – but Giles. If anyone’s going to get it right, it’s your internationally-renowned fashion-designer boyfriend, Giles Deacon.

Gwendoline on the red-carpet oozed drama and presence. A red silk, halterneck gown, the full skirt could only be worn by someone of Gwendoline’s height: a shorter woman would have been swamped by all that fabric. Giles cleverly (and touchingly) celebrated his girlfriend’s figure, referencing Hollywood icons from Marilyn Monroe to Jean Harlow, in turn making Christie the star turn of the evening. On a carpet where everybody’s fashion statement tended to whisper, the impact of Gwendoline was proudly, and uniquely, unmissable. It was a dress that also spoke volumes of just how much Deacon clearly adores Christie. This moment was not just fashion-fabulous, it was achingly romantic.

Everywhere you looked, this year’s attendees were pretty much of one mind. After the sartorial trail-blazing of the Golden Globes, this was the ideal moment to stop and pause. It’s a mistake to think of ‘quieter’ fashion moments as being inferior to their grander counterparts. What was on display here at the SAGs was an appreciation of the finer details fashion has to offer. The skill needed to create these pieces is in the construction, the tailoring – everything that is hidden from view. It is the genius you cannot see, but look again at the smiles of the women wearing the gowns. It’s confidence that isn’t borrowed for the night – they’re standing tall because these gowns require no tweaking, or hiding, or slouching. It celebrates what is already there, but knows its most important job: to make you see the woman first.

While there is always a place for high fashion on the red-carpet, sometimes even the biggest stars just want to wear something that makes them feel special, and the allure of simplicity – that oh-so-deceptive quality – never really goes out of style. Desire, beauty, elegance – it’s the new black.

HELEN TOPE

RED CARPET PREDICTIONS: GOLDEN GLOBES 2015

Making predictions on who will wear what is always a tricky game; the Golden Globes are notoriously difficult to predict. Placed sartorially somewhere between the no-holds-barred glitz of the Oscars and the insouciant glamour of the BAFTAs, the Golden Globes is a ceremony whose tone is definitely open to interpretation. It may be black tie, but a raised hem or a bared midriff is not out of the question.
For newbies, this can be a horrendous prospect: get it wrong, and that photo of you in candyfloss taffeta follows you around for the rest of your career. Get it right and the bar of expectation for the rest of the awards circuit is raised so high, you’re in vertigo territory.

(Felicity Jones wearing Dior Couture, 2014)

Newcomer Felicity Jones, nominated for her role in ‘The Theory of Everything’, is unlikely to experience the taffeta problem. Rapidly becoming one of the fashion world’s favourite people to dress, Jones has already scored on the red-carpet with her repeat appearances in Dior Couture. The retro, dynamic silhouettes from Raf Simons’ collection are difficult to wear – but Jones’ laidback approach serves her well, giving the couture gowns an air of modern sophistication. Her understated but impeccable styling works in tandem with the big-money designs; there is something refreshing about how Felicity wears high fashion: relaxed but respectful. A cool head will prove invaluable during the next few weeks, and I predict Felicity will opt for something with a vintage vibe – this two-piece from Elie Saab’s Pre Fall collection is perfect.

This year, the British contingent will certainly be making their presence felt, with nominees Keira Knightley, Emily Blunt and Rosamund Pike all up for leading and supporting awards. Emily Blunt, nominated for musical ‘Into the Woods’, is not only a red-carpet regular, but one with a very definite red-carpet style. Google Emily’s red-carpet looks and you’ll spot two obvious trends: it has to be form-fitting, and it has to be colourful.

(Emily Blunt wearing Prada, 2014)

Blunt has recently worn a wide range of designers for her press tour including Michael Kors, Dolce & Gabbana and Zuhair Murad. She is rapidly becoming a fashion force to be reckoned with, and her fearless, jump-right-in attitude means we can expect just about anything. My prediction is that she may go simpler for the Golden Globes – this white gown from J Mendel with the draped, plunging back detail has enough impact for Emily, even though it’s a neutral shade (although there is nothing neutral about this daring, photo-bait gown).

(Rosamund Pike wearing Alexander McQueen, 2012)

Rosamund Pike, nominated for her performance in ‘Gone Girl’, is another stylish Brit who is not afraid of being noticed: one of her most notable red-carpet hits was a bright canary yellow Alexander McQueen gown – with cut-outs. Rosamund is a bold risk-taker, and if anyone’s going to have a moment next weekend, I’d be betting on her. Suits have always met with a mixed reception on the red-carpet, and can go horribly wrong – but when tailored to perfection, the look can be nothing short of dazzling. This peplum two-piece by Preen is an example of how red-carpet dressing doesn’t always have to equal fluff and nonsense. Cool, edgy but in a very classic red-carpet shade to anchor it, Rosamund could make headlines if she chooses to take her daredevil style to the next level.

While the Brits are handsomely represented this year, some of the most established names in the business are up for awards – and when it comes to style, they definitely have a home field advantage.

(Emma Stone wearing custom Thakoon, 2014)

Emma Stone, nominated for her supporting role in ‘Birdman’, is the all-American girl who loves old-school European labels. Known for stellar looks in Lanvin, Valentino, Versace and Chanel, Stone is an old-soul when it comes to selecting her red-carpet picks. However, don’t read classic as stuffy – Emma mixes up the heritage pieces with newer designers, and isn’t afraid to adopt a catwalk trend. Her appearance at the Met Gala in an exquisitely-tailored skirt and cropped top by Thakoon was a perfect bringing together of Emma’s appreciation for detail, delivered in a fresh, vibrant way that felt totally occasion appropriate.

I think this look worked so well, it’s worth doing again – this time paying homage to one of the fashion greats. This look from Oscar de la Renta’s final collection would be perfect for Emma: youthful, fun but with a lightness of touch that verges on the ethereal.

(Amy Adams wearing Oscar de la Renta, 2013)

What Amy Adams will wear is somewhat harder to predict, and that, for Adams, is entirely the point. What else can you expect from someone whose roles range from a Disney princess in ‘Enchanted’ to a con artist in ‘American Hustle’? Adams’ film roles keep you on your toes, and this tendency to flip between two extremes also dictates her red-carpet choices.

There are two speeds with Amy’s red-carpet style: you can have slinky, form-fitting glamour (the mermaid silhouette is a favourite), or you can have romantic, beautifully-worked ballgowns. Where Adams succeeds, is where she introduces a little of both – the drama and the romance – and for a gown that delivers on both fronts you can’t go wrong with designer Elie Saab. Saab understands how to create a moment – and this blue, beaded fishtail gown from his latest Couture collection certainly does that. Adams has had particularly good red-carpet moments wearing blue – will she return to this shade for 2015?

(Julianne Moore wearing Tom Ford for YSL Rive Gauche, 2003)

Already being touted as an Oscar contender for her challenging role in ‘Still Alice’, Julianne Moore may see this year become one of her career highlights. Moore loves complex roles, but what is interesting is that despite her status in Hollywood, Julianne takes on her red-carpet duties with good humour and grace. In scanning through her red-carpet looks, it’s hard to find a picture where she isn’t smiling.

Her love of fashion is self-evident: Julianne adores wearing avant-garde labels, particularly ones that aren’t often seen on the red carpet. In doing so, she’s been changing our perceptions of what red-carpet glamour can be – and brands such as Proenza Schouler, Erdem and Vionnet are now becoming as readily familiar as Valentino and Givenchy.
In the spirit of Julianne’s love of new design talent, I have chosen a gown from ‘Project Runway’ winner Christian Siriano. Winning a reality television competition was of course just the beginning, and Siriano has since worked tirelessly to prove himself to the industry. He is now being recognised as a world-class talent, and this gorgeous inky gown from his Pre Fall collection has just the right depth of drama for Julianne.

With the Golden Globes ceremony only a week away (airing on 11 January), the decisions have already been made: the shoes, the jewellery, the make-up – every finishing touch is now complete.
All that remains is to see who seizes their moment in the spotlight – newcomer or more established name – the Golden Globes are notorious for throwing a few curveballs. It is the element of the unknown that makes red-carpet watching so enjoyable – and I for one can’t wait.

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

 

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

ELEGANT PRECISION: HAUTE COUTURE (AUTUMN 2013)

Valentino Couture (Maria Grazia Chiuri and Pier Paolo Piccoli)

Ever since Valentino’s departure in 2008, the challenge has been how to keep the iconic Italian label contemporary. In demand by royalty since the 1960’s (that’s showbiz and political royalty along with the real thing), Valentino has been for decades, a byword for elegance.

Meeting that challenge head-on, Chiuri and Piccoli have rewritten Valentino’s template for glamour. Bringing together top-notch workmanship with Medieval and Baroque references, this season’s couture collection was a history lesson in every sense of the word. Taking Valentino’s solid reputation as its base, the collection built on this with layers of tweed and cashmere, overlaid with exquisitely-worked embroidery. The silhouette of choice was regal elegance: high-necks, full, splaying skirts and cinched waists. This really was a collection fit for a princess, filled with detail, dresses and capes were covered with hand-stitched motifs of seashells and coral. This was off-centre glamour; created for women who want an elegant and precise mode of couture. Haute Couture has sometimes garnered a reputation for excess and grandeur: here the Valentino team created modern couture for the modern woman, mastering the art of business with beauty.

Elie Saab Couture (Elie Saab)

If Valentino is famous for kitting out royalty, then Elie Saab is surely the ultimate destination for film stars wanting to prep for the red-carpet.

Synonymous with sparkle and shine, Saab has been a regular fixture on the red-carpet ever since his rose-strewn gown was worn by Halle Berry to the 2002 Oscars. Saab has been known as a red-carpet favourite for over a decade now, with starlets and more established names alike opting for his glamour-packed gowns.

However, this season’s collection, while hitting all the high notes one would expect from Saab, got there by taking a different route.

The embellishments, Saab’s calling card, were presented with a crucial element of restraint.  With a darker palette of dove-grey, maroon and navy blue, the sparkle was toned down and replaced by an emphasis on form. Google any of Saab’s previous collections, and you’ll soon notice that volume plays a large part in creating an impact.  A Saab gown is unapologetic about taking up space on a red-carpet. But if you look at this season’s collection, the voluminous skirts are replaced by a simpler silhouette. The Elie Saab dress now takes tailoring as its starting point, and the embellishments, whilst still present, are applied with a restraint that creates a PR-friendly brand of conservative elegance that’s perfect for the post-recession red carpet. Meeting the ever-complex needs of his clientele, Elie Saab’s latest collection is a masterclass on how couture delivers results.

Chanel Couture (Karl Lagerfeld)

With models emerging from a shining, glittering metropolis to take to the runway, Karl Lagerfeld made it very clear within the opening seconds of his show that his eye was firmly set on the future.

Futuristic, modern touches were everywhere in this Chanel collection: metallic thread was woven into the body of the iconic Chanel tweed jackets; geometric prints matched with sequinned skirts and boxy, squared-off silhouettes set the tone.

The most interesting aspect of the collection, however, was Karl’s take on proportion. Layering cropped jackets over tunics, leggings and boots, this workable approach to winter layers used tone-on-tone to create a look that felt unified and coherent. Adding grunge-chic texture for interest, Karl’s idea for figure-friendly layering is already proving to be a winner, with many fashion pundits dubbing this the look of the season.

Dior Couture (Raf Simons)

If there was one word you could take away from Raf Simons’ third collection for Dior Couture, it was ‘multi-cultural’.

Using the Dior staples (the Bar jacket, houndstooth print and the black wool day dress), Simons transformed them with African beading and Japanese tailoring. This was a play on fashion semantics; taking our expectations of Dior Couture and inverting them. Featuring African prints with Japanese obi-belts, this was Dior speaking an international language. As couture moves into new territories (and new cultures), Simons predicts how fashion will absorb these ideas and translate them into a new definition of luxury. This collection was clever and proof that Raf Simons (along with Karl Lagerfeld) is keeping an eye on what’s to come.

Atelier Versace (Donatella Versace)

Atelier Versace opened the couture season with a bang, choosing Naomi Campbell to open their show. Walking for the label for the first time in 15 years, this was a show-opener with maximum impact.

Again, Versace’s show was punctuated with a mood of restraint and subtlety (or at least, subtlety by Versace standards). The sexy silhouette of the Italian label was out in full force, with lace jumpsuits and corsets taking the lead, with the show-stopping sequinned gowns following behind to provide the big finish.

The high-octane glamour, though, was tempered by use of a sober palette: the acid-yellows and neon pinks of last Spring were replaced by forest greens and petrol blues. It was still dishing up glamazon fierceness, the Versace badge of honour, but this was Versace contained; an altogether different animal. This was not Versace tamed – merely a Versace more inclined to win your over by seduction, rather than stealth. The pieces we recognise as being hallmark Versace were re-arranged to create a fresh interpretation of an old standard.

This was a common theme in many of the couture collections: how to make couture, according to British Vogue, ‘relevant in a modern world’. It is a mistake to think of couture as the cumbersome, slow-moving Leviathan to its swifter cousin, ready-to-wear. Couture has been the branch of the fashion industry quickest to respond and adapt to the challenges of dressing a recessionist world. In 2008, haute couture was predicted to be the first casualty of the global recession. Five years later, it is stronger than ever, with new couture houses such as Giambattista Valli joining the more familiar names of Chanel and Dior.

A delicate balance has been struck this season; in-between the bold strokes of creativity essential for couture, and a tempered accessibility required by its new clientele. The idea of handcrafted fashion may seem like one that belongs to another age, but what was shown this season, is that couture can stay in the game by changing its ideas.  By trading on its strengths and not playing it safe, couture has weathered the recession not because it is necessary, but because it is beautiful, and in fashion, beauty is the easiest sale of all.

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

KEEPING IT SIMPLE, KEEPING IT REAL: TOP 10 OSCAR DRESSES

With the 2013 Oscars just hours away, attention again turns to the red carpet. Once dubbed the world’s most powerful catwalk, the Oscars present a golden opportunity for stars to raise their game. Regardless of nominations or wins, scoring Best Dressed of the night can boost a fledgling career, herald a comeback or make us look at a star in a whole new light.
A good dress can garner all the right kind of attention; but a great dress creates its own legend. There have been moments on the red carpet where a dress becomes part of Oscar history. These 10 dresses that follow are a purely partisan selection, but gowns that I feel have earned their place: either by virtue of marking a moment in Oscar fashion history, or simply by being beautiful.

Grace Kelly (1955)
Winning an Oscar for her performance in ‘Country Girl’, Kelly turned up to the ceremony in what was (at that point) the most expensive gown ever worn to the Oscars. Designed by Edith Head (who herself won 8 Oscars for costume design during her career), the silk used for the gown alone cost $4,000. Expertly tailored with minimal accessories, Grace Kelly’s simple-but-effective gown has become the standard by which all red carpet style is measured. This look may be nearly 60 years old, but it still looks contemporary. When fashion pundits say true style is timeless, they almost certainly referring to this gown. An Oscar’s classic.

Uma Thurman (1995)
Forty years on from Grace Kelly’s triumph, Uma Thurman re-introduced minimalist chic to the red carpet. After decades of formal, heavily decorated evening gowns taking the sartorial lead (with varying degrees of success), Uma made the pivotal decision to keep it simple.
Nominated for her appearance in ‘Pulp Fiction’, Uma went back to the drawing board. She liaised with up-and-coming designer Miuccia Prada to create a delicately-feminine gown and matching stole in lavender. Uma (a former model) worked the gown on the red carpet with aplomb. Sophisticated but still youthful, the gown was a love letter to the best of 1990’s minimalism.
Uma’s decision to go designer was a watershed moment for red-carpet fashion. The relationship between film and fashion was re-ignited, and the formal eveningwear was replaced with the best of the runway.

Sharon Stone (1996)
One year on, and thanks to Uma, the red carpet looked very different. Finesse took the place of extravagance, and no-one took this lesson more to heart than Sharon Stone.
Nominated for her role in ‘Casino’, Stone reportedly had a wardrobe crisis, and unable to go ahead with Outfit A, had to resort to a hasty Plan B. In a stroke of genius, Stone paired a trumpet skirt from Valentino with a charcoal poloneck from high-street store GAP. Finishing the outfit with a jacket and vibrant red lipstick, Stone hit the red carpet.
It was an act of sheer daring, but it paid off. The Oscars red carpet is littered with examples of bold gestures that failed to launch, but Sharon’s sartorial leap of faith worked because the detail was kept to a minimum. Looking at this picture, there is nothing dated here: everything is a classic piece and together, they work beautifully.

Nicole Kidman (1997)
Two years on from Uma Thurman’s success with Prada, Nicole Kidman showed us just what could be achieved by embracing haute couture.
Hiring John Galliano, Nicole allowed the designer free rein. As one half of the most famous couple in showbiz, Kidman was taking a huge risk, but her ability to pick the best design talent would prove uncanny in its accuracy.
This gown formed part of Galliano’s debut collection for Dior Couture. Oozing Asian-inspired influence from the silhouette down to the exquisitely hand-stitched embroidery, this dress was not just to be worn, it was to be admired as a piece of art.
Kidman wore the gown with a respect worthy of the hours spent creating it and this dress made headlines around the world, cementing Kidman’s reputation as a style icon and Galliano’s status as the next big thing. It ushered in a new era of couture, with actresses eager to take their style to the next level.

Cate Blanchett (1999)
A new face in Hollywood, nominated for her star turn in ‘Elizabeth’, Blanchett took the couture mantel laid down by Kidman and ran with it.
Also opting for John Galliano, Cate’s gown was very different to Nicole Kidman’s theatrical glamour. Worn close to the body, the selling point of Cate’s bohemian-style dress was all in the back. With hummingbirds and flowers delicately stitched onto a sheer panel, the result looked as if the detail had been tattooed onto Blanchett’s skin.
It was a left-field choice for the actress who was expected to turn up in something grander, more befitting her role in the film for which she was nominated. But Cate went in the other direction, creating a first impression on the Oscars red carpet that was individual, intelligent and intriguing.
This style blue-print has been Blanchett’s motto throughout the years. She eventually picked up an Oscar in 2005, turning up to the event in a canary-yellow silk gown from Valentino, accessorised by a burgundy velvet sash. Fearless in her choices, Cate has been one of the red carpet’s most reliable stars when it comes to understanding (and wearing) high-fashion.

Kate Winslet (2002)
A modern red-carpet veteran, Winslet has been seen in everything from an emerald, empire-line gown by Alexander McQueen to a futuristic silver column dress by YSL. Choosing to bypass trends, Kate has won her Best Dressed laurels by going for looks that optimise her best features.
Nowhere was this more evident than in her appearance at the 2002 Oscars. Wearing a red gown by British designer Ben de Lisi, the gown’s asymmetric shoulder was crowned with a garland of flowers. Expertly fitted to Winslet’s curves, this feminine, sensual gown was a no-brainer for Best Dressed.

Charlize Theron (2004)
A great tip for nominees: if you really want to win, dress the part. Both Charlize (and Sandra Bullock in 2010), in their zeal to win the statuette, went for gold.
Charlize, who won for her performance in ‘Monster’, turned up in a custom-made Gucci gown. In the palest shade of gold, and beaded from top-to-toe, this dress was a triumph of subliminal messaging.
Theron, who had already proved her fashion nous, styled the gown with 40’s inspired finger waves and delicately-glowing make-up. Charlize not only shimmered on the red carpet, she was the absolute centre of attention. A favourite to win in the months leading up to the ceremony, this show of self-confidence was touching. In an awards circuit where modesty is the default setting, Theron’s bold decision to dress as the front-runner was not only audacious, it was downright inspiring. This is as close an interpretation of girl power as red carpet fashion gets.

Michelle Williams (2006)
An actress who marches to the beat of her own drum, Williams is one of Hollywood’s most ambiguous talents.
Nominated for her moving performance in ‘Brokeback Mountain’, Michelle’s red carpet choice won hearts – and raised eyebrows. Turning up in a mustard-yellow, softly-ruffled gown by Vera Wang, this outfit divided opinion, but those who got it, loved it.
Paired with a deep-red lip colour, Williams’ choice was one of those Oscar moments you either adored or loathed. For my money, this was clearly a selection Williams made with her heart, not her head, and this is why I feel it works. A woman in the wrong dress is obvious: despite her best red-carpet training, her body language will always be awkward and uncomfortable. The smile feels forced, rather than genuine.
What Williams did was to go with the choice that may not have seemed right, but it felt right. Going with her instinct, Michelle’s look made fashion history. Not because it was ‘right’ or ‘wrong’, but because of her absolute confidence in the dress, Michelle was utterly convincing.

Jennifer Lawrence (2011)
Another unashamedly personal choice, Jennifer Lawrence has seen her profile rapidly ascend in the space of two years.
Pictured here nominated for her stunning performance in ‘Winter’s Bone’, Lawrence returns again in 2013 as one of Hollywood’s hottest names. But her inaugural appearance at the 2011 Oscars was a master-class in how to make yourself memorable.
Lawrence did this by utilising the first rule of Oscar dressing: if in doubt, keep it simple. She wore a custom-made jersey gown by Calvin Klein creative director, Francisco Costa. It was red, slinky and effortless – and completely at odds with the heavily detailed gowns in favour that year such as the Givenchy Couture dress worn by Cate Blanchett, or Mila Kunis in lilac lace by Elie Saab.
By going against the grain, Lawrence became the ingénue we all remembered. In being brave enough to be different, Jennifer showed her star potential.

Gwyneth Paltrow (2012)
Like her peers, Cate Blanchett and Kate Winslet, Paltrow’s personal history with the Oscars is extensive.
Winning in 1999 for her performance in ‘Shakespeare in Love’, she appeared in a classic Ralph Lauren ballgown in pink taffeta. Turning up in 2002, she arrived in a gothic-inspired sheer gown by Alexander McQueen. Ill-fitting, and sheer in all the wrong places, this was by any standard, an epic fail.
Since then, Paltrow has redeemed herself many times over, with some great looks. But any future appearances will have to work hard to eclipse her triumph at last year’s Oscars. Head-to-toe in arctic white, Gwyneth’s outfit was tailor-made by Tom Ford. Wearing an asymmetric column gown with matching cape, this was a mastery of fabric and form. It was cool and contemporary, but in its sophistication, it was totally appropriate for Paltrow. This outfit erases Gwyneth’s early reputation as the ‘next Grace Kelly’ and transforms it into something far less expected. Her latest incarnation is modern, fresh and unique – and couldn’t be further removed from that pink ballgown.
In not being afraid to change and adapt, Gwyneth has learnt from her mistakes, and has followed her instincts to create a style that’s emphatically her own. As far as red-carpet fashion goes, there is no more worthwhile lesson. Keep it simple, but keep it real.

HELEN TOPE

DIOR’S NEW DAY

It may have been a long time coming, but this week finally saw the unveiling of Raf Simons’ first collection for Dior since his appointment as Creative Director earlier this year.

His collection for Dior Couture was eagerly anticipated: the audience was packed with luminaries from the world of fashion including Donatella Versace, Marc Jacobs, Alber Elbaz and Diane Von Furstenberg. Simons’ previous appointment with Jil Sander made him a left-field choice for the rarefied world of Dior, but with his first collection, Raf ushered in a new age for the Parisian label.

Taking Christian Dior’s famous New Look 1947 collection as his point of reference, Raf took Dior’s silhouette back to basics. The bar jacket (reincarnated as a coat for a more up-to-date feel), the tailored cigarette trousers, the full skirt – these were all classic Dior pieces, but they were reworked to become iconic modern staples. The bodices on the dresses were sleek, with a hint of body con, and even the grand finish – a white organza ballgown embroidered with bands of pale pink feathers –was not there merely for show, but to deftly demonstrate the exquisite workmanship that exemplifies the team behind Dior Couture.

It was a philosophy that clearly informed Raf’s process in coming up with Dior’s new direction: Simons would adhere to the traditions of Dior but still stay true to his own strengths. It was a world away from the belle epoque of John Galliano’s collections: sharp tailoring replaced Galliano’s decadent bias-cut gowns and kabuki styling.  In one fell swoop, Dior had moved from on from Galliano’s fantasy world, and into the realm of the new couture consumer: ready to buy, eager to wear.

Already being touted as the collection of the couture season, Raf Simons has proved his ability to lead a couture label, stamping his identity on every piece. The pieces drew from the best of Dior, but the moulded hips, the sculpted strapless gowns, they were pure Simons. To draw a line through the turbulence and uncertainty of the past year, a bold approach really was the only way forward – and that’s exactly what Dior got. Beautifully crafted but irrefutably modern, this collection puts an end to Galliano’s chapter in Dior’s history. With a debut this audacious, Simons has used the label’s history to propel it into a brighter future.

HELEN TOPE

IN PRAISE OF….RAF SIMONS

Congratulations to Raf Simons who has just been announced as the next artistic director of Dior. Simons, who had until recently worked as creative director at Jil Sander since his appointment back in 2005, gets the most-talked-about job in the fashion industry and will launch his first couture collection this July.

Simons is already being feted as a strong choice by industry insiders, with his definitive work at Jil Sander being more than enough proof that he is the right man for the job. Raf’s seven-year stint at Jil Sander took a label known for its minimalist values, and transformed it into a byword for modern elegance.

Raf’s ability to make challenging colours and shapes wearable puts him in good stead for the world of haute couture. His fearless approach to fashion’s toughest problems has seen him move to the forefront of innovative fashion: bold, game-changing design that gets everybody talking.

The question that remains is whether Raf will apply everything he learnt at Jil Sander to a couture line with over 70 years of history. Dior Couture has remained in neutral since John Galliano’s departure, desperately needing an injection of core design. Simons has been quoted by http://www.vogue.co.uk that he respects Dior’s ‘belle epoque’ era. A modern twist on Dior’s iconic history? After months of gossip and speculation, it looks like Dior may get its happy ending after all.

HELEN TOPE