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

 

THAT SECOND LOOK: SCREEN ACTORS’ GUILD AWARDS 2014

The Screen Actors’ Guild Awards may lack the headline-grabbing chutzpah of the Golden Globes, but these awards, geared to celebrating acting talent, are uniquely placed in the awards calendar. After the Globes, and well before the BAFTA’s and the Oscars, the SAG’s present the perfect opportunity for a style do-over.

One of the stars wanting to make a favourable second impression was Sandra Bullock. Arriving at the Globes in a multi-tone Prabal Gurung, the avant-garde style did not sit well on Bullock’s vintage glamour persona. Sandra’s brush with cutting-edge fashion was a rare fashion fail: she has always looked best in slim silhouettes, and the statement Prabal Gurung was quite simply a case of too much dress.

The slinky ‘wrap’ gown from Lanvin, however, is an illustration of how to achieve more by doing less. Paired with gold Jimmy Choo sandals, this look couldn’t have been more different to the Prabal Gurung: the simple Parisian glamour was fun, sexy – and very hard not to love.

The second tries kept coming, with Amy Adams turning her back on the 70’s-inspired plunging necklines of ‘American Hustle’, moving onto more architectural fashion. The sculptural shoulder detail of the electric-blue Antonio Berardi gown was a bold choice, but Amy wore it with effortless aplomb, making this one of her most striking red-carpet moments in years.

This was definitely an evening for challenging, left-field fashion. Cate Blanchett replaced Hollywood glamour at the Globes with an ultra-modern halterneck gown by Givenchy for the SAG’s.

In blush pink, the big story of this gown was the sequin-embellished bib detail. This look was definitely not a traditional crowd-pleaser, but something more typical to Blanchett’s love of avant-garde fashion.

Even when reception to her looks has been mixed, Blanchett gives you drama. Blending into the background has never been Cate’s style, but her daredevil approach to red-carpet dressing has always been tempered by a sense of occasion. Cate knows just how far to push; nudging us gently towards her fashion sensibility which has clearly been a labour of love. It is unusual to find a Hollywood star so comfortable in their own skin that they make their rules up as they go along. Blanchett’s ongoing collaboration with Armani Prive in particular has created moments that are beautiful as they are unique.

The Givenchy gown demanded that second look, seducing and intriguing us in turn. Whether you found yourself loving it or hating it, this gown commanded attention, and on the red-carpet, that’s winning half the battle. An undeniably tough wear, this was a look only Blanchett could pull off.

Also flying the flag for avant-garde fashion was ‘Homeland’ star, Claire Danes. Dressed in iconic French label Vionnet, this gown of inlaid shimmering panels of sequins and tulle layers was an automatic standout. The inky, bohemian glamour was the thinking girl’s interpretation of the ubiquitous sequinned gown that can be found at every red-carpet event. It was the Left-Bank cousin to the Dior column gown sported by Jennifer Lawrence, a signature piece from the couture house that typifies classic French glamour. While Lawrence wooed those not bowled over by her Golden Globes look; Danes appealed to those who wanted their red-carpet fashion with a cerebral edge. This was Danes at her best – proud to be different.

Another red-carpet regular who plays the game her way is ‘Mad Men’ star Elisabeth Moss. Wearing a Michael Kors red strapless gown, this was a genius pairing of an all-American designer, with an actor who is anything but apple pie. A neat finishing touch was her lipstick: the shade expertly matched to her dress, taking this look from gorgeous to no-holds-barred glamour. Worn with a fierce intelligence that informs her complex roles, this look was all about what wasn’t being said.

While most played to their strengths, others just went for broke. Julia Roberts’ monochrome tailoring at the Globes fell flat with pundits, leaving Roberts with a point to prove.

Her appearance at the SAG’s could not have been more different, turning up in a bubble-gum pink Valentino jumpsuit. It was a refreshing departure for Roberts; a joyously youthful look that thanks to the Valentino touch, did not want for sophistication. Expertly cut to suit Roberts’ leggy frame, this jumpsuit propelled Julia straight back into the limelight.

 It was an evening for colour: bright, saturated tones dominated the carpet, none more so than the eye-catching aqua-blue gown worn by Lupita Nyong’o. Designed by Gucci, this tropical show-stopper left everyone else out in the cold. The soft, chiffon petals garlanding Lupita’s neck that then fell away into an exquisitely-tailored crepe gown was nothing short of a star turn.

Lupita’s charm offensive on this year’s awards circuit has been both sustained and thorough. From her caped crusading Ralph Lauren at the Globes, to the ivory silk bandeau Calvin Klein gown at the Critics’ Choice Awards, Lupita has not put a foot wrong. For a newcomer, Lupita’s red-carpet style has been remarkable in its confidence.

It is Lupita’s confidence that is, of course, her winning hand. A fearless approach to red-carpet fashion is what designers really want from their celebrity clients: to go boldly, to dare and to risk.

Those who had their fashion ‘do-over’ at the SAG Awards succeeded not because they played it safe, but because they took a risk. An emerald-green wrap dress; an electric blue gown and a pink jumpsuit: none of these are run-of-the-mill choices, but Bullock, Adams and Roberts all redeemed themselves by gambling on their instincts.

Most of all, this carpet paid tribute to glamour that required not blanket praise, but for us to form an opinion. It was an acknowledgement by Hollywood that the best fashion does not conquer, it divides. The stars that soared this time did so because their choices were smart, sophisticated and evolved. Personal style cannot move forward unless you are prepared to move with it – a lesson that does not seem lost on this generation of stars.

The truism that getting it wrong on the red-carpet goes a long way to getting it right is more relevant now than ever before; as we all become more style-savvy, making an impression becomes even more challenging.  This doesn’t mean embracing the shock factor, but being memorable does often mean being out there on your own.

No -one’s style trajectory is perfect and that’s why we continue to watch red-carpet coverage with such anticipation. It is the same question that keeps moving us forward onto bigger, better and brighter horizons. What’s coming next?

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

EASY GLAMOUR: GOLDEN GLOBES 2012

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE