PLAYING BOLD: GOLDEN GLOBES 2015

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

(Kate Hudson wearing Atelier Versace)

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

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

(Diane Kruger wearing Emilia Wickstead)

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

(Amy Adams wearing custom Versace)

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

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

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

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

(Julianne Moore wearing Givenchy Couture)

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

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

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

(Kerry Washington wearing custom Mary Katrantzou)

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

HELEN TOPE

BEAUTY, EVERYDAY: OSCAR DE LA RENTA (1932-2014)

Born to a wealthy family in the Dominican Republic, Oscar de la Renta began his fashion career as an apprentice to Cristobal Balenciaga. Drafting sketches to send to Cristobal’s clients, de la Renta showed promise quickly, and his cutting and draping skills saw him move to Paris to work for Lanvin and Balmain.
Starting at the epicentre of 1950’s couture, de la Renta was well placed to become his own man, as the taste for fine fashion grew. Launching his own ready-to-wear line in 1965, the de la Renta label adorned the backs of New York socialites. The designer’s reputation for creating wearable, beautiful pieces made him a firm favourite, and his reputation took him all the way to the White House, where he ended up dressing four First Ladies, including Nancy Reagan, Michelle Obama and Hillary Clinton. De La Renta’s elegant lines and flattering colours took Clinton’s style to the next level and Hilary’s transformation was perfectly judged – femininity without the fuss.

It was de la Renta’s understanding of what women want that kept him at the forefront of New York fashion. His beautifully-crafted evening gowns were show-stoppers, and his decision to stay with classic silhouettes and colour combinations became his signature – and his loyal clients couldn’t get enough.
In 1989, he received the lifetime achievement award from the Council of Fashion Designers of America – an award that with the full benefit of hindsight seems remarkably premature. Over the next 25 years, de la Renta stayed relevant not by jumping from trend to trend, but by offering covetable, stylish collections, year in, year out.
If Oscar’s story ended here, it would still be a terrific read. But in the third act of his career, de la Renta’s look travelled from New York to Los Angeles. His gorgeous gowns began catching the eye of Hollywood stylists – his style philosophy perfectly dovetailed with what they were looking for. Beautiful, uncomplicated glamour that would translate across the board: Oscar de La Renta met all these requirements and he found himself at another epicentre – this time it was the red-carpet.

Oscar’s gowns were not just adorning the pages of American Vogue, but now were being seen on the most famous women in the world. Cameron Diaz, Penelope Cruz, Sarah Jessica Parker and most recently, the newly-married Amal Alamuddin all had glorious moments wearing his designs. The widely-circulated photo of Oscar in his studio with Amal is truly poignant: one of his most public triumphs was to be his last.

While de la Renta’s gowns may not have broken new sartorial ground, Oscar’s ability to create designs that complemented but never overwhelmed, cast both the gown and its wearer in the best possible light.

This was the key to understanding Oscar’s work – it was quite literally fashion without the fear. In his collections, summer dresses adorned with floral prints and beautifully cut trouser suits were the mainstays: exquisitely made, exquisitely expensive but oh-so-easy to imagine yourself wearing. Oscar de la Renta believed in beautiful clothes for every day of a woman’s life. His label didn’t need a star piece to carry it through the season; the piece you reached for time and again was what de la Renta did best. He saw the beauty in the everyday – glamour was not just reserved for life’s big moments.

Oscar’s message to fashion, and to us all, was to celebrate simplicity. He didn’t need big, game-changing ideas: Oscar’s genius was in getting us to re-appraise the familiar, and appreciate what was already in front of us. Along with his peer Valentino Garavani, Oscar de la Renta’s career is testament to the fact that a simple idea needn’t lack sophistication.
His reputation as an American Master puts him at the crossroads of fashion history. The apprentice to Cristobal Balenciaga grew up to become the toast of contemporary Hollywood, all the while staying true to his notion of elegance, grace and femininity. In an industry where creating waves can turn into serious profit, de la Renta’s commitment is all the more impressive for its staying power.
Fashion has often been criticised for being too knowing, too oblique. The retort to every criticism of this kind is Oscar. He refused to be cynical – every collection was a burst of colour and charm, filled with optimism for the future. Always looking forwards, he offered us a vision in technicolour. Oscar de la Renta was, and remains, fashion’s most perennial and joyous voice.

HELEN TOPE

THE RAINBOW CONNECTION: EMMYS 2012

Always proud to be different, this year’s Emmys turned away from the usual red-carpet fare of tasteful neutrals and subtle metallics, and gave us a riot of colour: a blend of joyful, uplifting shades that ranged from ethereal ice-blue, sunny yellow, racy neon, bang-on-trend aquas and soft, gentle mauves.

Claire Danes, one of the big winners of the night, wore a Lanvin gown in just the right shade of yellow. Coupled with minimal accessories, Danes smartly let the dress do all the work. It was a master-class in formal dressing during pregnancy, with Danes cheerfully referring to the Lanvin gown as ‘bump-friendly’.

‘Modern Family’ star Sofia Vergara went for the wow factor in Zuhair Muraud. The turquoise sequinned gown hugged every contour of Vergara’s bombshell figure. As the one attendee guaranteed to give us va-va-voom, Vergara has a lot to live up to, but with this perfectly-cut gown, it was vibrant, sexy and above all, a compelling case for curves embracing colour.

But the best-dressed honours of the night really had to go television’s funny girls. ’30 Rock’s Tina Fey hit a home run with a deep mauve gown from Vivienne Westwood. Keeping it simple, the exquisite fit of the gown was accentuated by a brocade detail around the bust. It was a superbly confident choice, with Fey looking every inch the star. Fey’s red-carpet successes may have been patchy, but this was a glorious swansong: Tina may have taken her time in getting to this point, but it was worth the wait.

Sophistication came in new guises with ‘New Girl’s Zooey Deschanel arriving in a custom-made Reem Acra gown. Designed in a colour to match her eyes, the prom-style dress was a modern interpretation of the fairytale gown, with laser-cut tulle edging it up. This study in ice-blue played off Zoey’s features perfectly, making her quirky beauty feel elegant and timeless.

Others went for bolder colour options, including ‘Modern Family’s Julie Bowen working a bright neon column dress, and Ginnifer Goodwin and Padma Lakshmi wearing very different takes on orange, courtesy of Monique Lhuillier. But if you’re still a fan of black, ‘Mad Men’s January Jones was your go-to girl. Wearing a design from Zac Posen, this was a gown loaded with drama. With criss-cross sections on the bodice and skirt, the dress had raised hems and transparent panels which created volume without bulk. While everyone else played the colour card to get attention, January Jones wore this fashion-forward look with fearless abandon.

If you wanted to peg a trend onto this year’s Emmys, it would have to be the return of glamour. Whether it was in feather-light chiffon or a heavily beaded bodice, no-one seemed to want to play it safe – the looks of the night were all focused around having that big glamour moment. Considering that last year’s red carpet hits were all about sleek monochrome, this explosion of colour is all the more surprising. With so much colour on display (and not usual red-carpet shades either), it was a real fashion U-turn, but one that paid off handsomely.

With its strong emphasis on colour and glamorous detail, this was a red-carpet filled with optimism. Rather than fighting over the ‘dress of the moment’, celebrities went with designs and colours that flattered, and it was a style strategy that worked. No-one looked uncomfortable or out of place: whether that dress was an outright style win or one open to debate, this event was about celebrating fashion, not enduring it. Going with what felt good, the Emmys proved a great opening to the red-carpet season: full of moments that were bright, bold and downright beautiful.

HELEN TOPE

SIMPLICITY ITSELF: OSCARS 2012

When it comes to awards ceremonies, not all red-carpets are created equal. Now in its 84^th year, the Academy Awards is, and remains, the benchmark by which all other events are measured.

With the knowledge that the world is watching, the pressure to get it right can be immense. Some stars avoid the glare of the fashion spotlight by playing it safe; others replay their best fashion hand with looks seen before. But those who make the headlines (in a good way), balance a little risk against a fail-safe marker – and that can be anything from a colour to a favourite silhouette. This is the strategy we saw in abundance at this year’s Oscars: a touch of the familiar, with a flash of unexpected genius, made for a very stylish carpet.

With a stunning appearance at the Golden Globes already under her belt, you would think that Angelina Jolie would have nothing left to prove. But you would be wrong. Jolie showed up in a black velvet gown from Atelier Versace, slit to the thigh with pleated panels on the bodice. It was a masterwork of seduction; no-one in Hollywood does smart / sexy quite like Angelina. Her winning formula of reveal and conceal makes her not only one of the Best Dressed of the night, but downright intriguing. Channelling old-school glamour with a twist of modernity, this was Jolie’s best look of the season.

Intelligent choices were all over this red-carpet, with Gwyneth Paltrow stunning everyone in a stark, white gown and cape from Tom Ford. In theory, this could have gone horribly wrong, but Ford’s gift for precision and restraint made this outfit a beautiful example of postmodern glamour. As already demonstrated by Rooney Mara and Tilda Swinton, there is an appetite for gowns off the beaten track: spare, elegant forms without a flounce in sight. This modern way of approaching red-carpet dressing looks set to become the rule rather than the exception: ruffles and bows for night-time don’t sit quite right at the moment. Indulging your inner girl feels more appropriate to daytime with Louis Vuitton and Prada giving us plenty of ideas on how to do pretty.

In terms of eveningwear, bold, sleek shapes channel a political consciousness that’s purely interested in showing up, not showing off. Gwyneth, picked by many as the evening’s Best Dressed, had clued up on the style zeitgeist: her choice was undeniably beautiful but its simplicity left Paltrow looking calm, relaxed and approachable. This style code feels like a better fit on Gwyneth, who in the early part of her career struggled to find her groove. But this stab at sartorial greatness turns Gwyneth into a very modern style icon: cool, confident and above all, contemporary.

Very few people did sequins for the Oscars, but those that did, applied them with wit and verve. Rose Byrne’s midnight-blue gown from Vivienne Westwood made her one of the red-carpet stand outs. Epic detail was reined in by a sleek, one-shoulder design and a touch of Westwood tailoring. This many sequins should cause the dress to droop, but it stood firm thanks to a corsetry that kept the shape of the dress intact. It was a comforting hit of sparkle (for those who feel a red-carpet isn’t the same without it), and Rose’s profile soared in what was a very modern re-working of a red-carpet classic.

Jessica Chastain, nominated for her role in ‘The Help’, also took her brand to the next level in a career-making turn wearing custom-made McQueen. A black strapless gown overlaid with intricate gold embroidery saw Jessica; in sartorial terms at least, go toe-to-toe with Angelina and Gwyneth. Paired with beautifully-judged make-up and tousled hair, this was a look belonging to someone who is destined to become an even bigger star. Someone with this much confidence at this stage in their career cannot help but excel – Jessica is one to watch.

Some of those attending did opt for colour in what has been a curiously monochromatic awards season: Natalie Portman in vintage Dior, Emma Stone in Giambattista Valli and Michelle Williams in Louis Vuitton – all three went for shades of red.

Williams’ gown in particular divided the critics: a strapless gown with soft, horizontal ruffles and a peplum detail at the waist was a winning choice but possibly not on Williams. Like Paltrow, Williams is most in her comfort zone when she goes simple. Some of her best red-carpet moments have been in dresses of deceptive simplicity.

Others attending chose to tread a well-beaten path. Meryl Streep chose the good-luck charm of previous Oscar winners and went for gold in eco-Lanvin. Like Sandra Bullock (Marchesa, 2010) and Charlize Theron (Gucci, 2004), Streep got her award dressed head-to-toe in gold.

Livia Firth’s good work at the BAFTAs in encouraging A-listers to participate in the Green Carpet Challenge was confirmed in earnest at the Oscars. French fashion-house Lanvin used eco-certified fabrics to dress the Iron Lady. Stepping up to collect the third Oscar of her career, Meryl looked softly glamorous. It was a truly Oscar-worthy choice.

If there was anything to take away from this awards season, it was a renewed appreciation of the simple things. A good cut, a plain colour won out time and again over flashier designs. It may be something to do with the types of films making it big this year: the grand-ambition projects or the small art house films that end up stealing your heart. But whatever is causing it, there’s a real call to arms to those who want real, honest-to-goodness sophistication.

Whether you like your red-carpet to shine, or be beautiful in a more subtle way, what’s very clear is that modern glamour – in all its grown-up glory – is here to stay.

HELEN TOPE

IN PRAISE OF…CAMPAIGN VIDEOS

A relatively new concept in the fashion world, campaign videos are taking high-fashion campaigns to bold new heights.

Designed as a companion piece to the print ad we’re so familiar with, the advantage of the campaign video is the ability to see the clothes, bags and shoes from every angle. It also poses a challenge to the models appearing in the video as there really is nowhere to hide. Rising star Arizona Muse was put to the ultimate test last year when she appeared in a campaign video for YSL. Filmed walking around a tree, Muse modelled through 360 degrees – and proved to the industry that she simply didn’t have a bad angle.

Others apply an element of fun to make us see their label from an entirely fresh perspective. The Autumn / Winter 2011 video for Lanvin went viral last year when it featured Karen Elson and Raquel Zimmermann dancing to Pitbull’s ‘You Know You Want Me’. The coup de theatre came at the end of the video when Alber Elbaz himself busted a move. Anyone who had previously accused Lanvin of taking itself too seriously found their argument quashed in the space of three minutes.

As they become more of a standard, campaign videos are becoming increasingly sophisticated. The latest batch for Spring / Summer 2012 include a show-stopping turn from Prada. Filmed by Steven Meisel, Prada’s homage to 50’s cool-girl fashion is expertly showcased. The retro Cadillac prints and chrome handbag trim all make for a collection that’s classically quirky – in other words, perfect Prada.

Modelled by Natasha Poly, Meghan Collison and Katryn Kruger, the swish of the pleated skirts is so evocative that it becomes evident that parts of this collection could only come to life in a video. This is one of the video’s major strengths: a print campaign can show you the beauty of a jacket or dress – but only a campaign video can show us how a piece hangs on the body, how it moves and by implication how it feels.

The sensual dimension is the campaign video’s biggest selling point –and most compelling argument for its longevity. As we’re already a nation of visual consumers, making a video – something that can be viewed again and again – makes the most sense for fashion houses looking to get the edge over their competitors. It also extends the life of a campaign, with videos from previous seasons racking up hundreds of thousands of views on YouTube.

Looking ahead, the campaign video could well help to build a brand identity that’s not just season by season, but something  layered and complex. After all, a label is more than the sum of its parts: Prada is not just the look of Spring / Summer 2012. With every new collection comes the echoes of its previous collections: librarian chic, snakeskin heels, coats covered in fur. The campaign video comes into its own as a lasting record of fashions past – but it also provides a valuable insight into where your favourite label is heading next.

HELEN TOPE

A SUBTLE ART: GOLDEN GLOBES 2012

This year’s Golden Globes were proof once again that if you want to be surprised, the Globes are your go-to reference.

Divided right down the middle, this year’s carpet split the attendees into one of two sartorial camps: light or dark. Rooney Mara, Evan Rachel Wood and Julianne Moore all went to fashion’s dark side, but there was still plenty of support for the softer palette. Nicole Kidman, Charlize Theron and Angelina Jolie were just three of the big-hitters who opted for lighter shades.

Theron continued her partnership with Dior Couture, and Angelina stunned in an ivory gown from Atelier Versace; its pristine quality only broken by a single, dramatic sweep of red. Commanding the red-carpet, the dress was an exercise in deceptive simplicity. Jolie, never knowingly under-dressed, was positively regal in a dress that was expertly cut to make a lasting impression. Sophisticated and polished, this woman was light years away from the girl who collected her Oscar in 2000, dressed in nothing but black. Angelina’s transition from goth to glam has been a slow one, but if this gown is any indication of what we can expect from Jolie in the future, the wait has been worth it.

Where actors went with a bold gesture, the gamble paid off. Tilda Swinton arrived in a pale-blue skirt suit by designer-of-the-moment, Haider Ackerman. Swinton actively provokes opinion, with the style renegade preferring Parisian edge to the Italian masters of luxe. But in these moments of defiance, Tilda reminds us why she is one of a kind. This suit came pretty damn close to avant-garde perfection.

Other highlights included Natalie Portman in a bubblegum-pink gown that showed the sunny side of Lanvin, and Kristen Wiig got serious in a beautifully-draped goddess gown from Bill Blass.

However, even in terms of red-carpet dressing, one size does not fit all. Those who opted for the darker side of glamour did not disappoint. But even the darker hues were offset with soft, romantic detail; the feathered hem of Evan Rachel Wood’s custom-made Gucci gown and the soft drapery on Rooney Mara’s Nina Ricci dress compensated for the S&M-style straps on the bodice. Hard was countered by soft, and the result was a red-carpet in perfect harmony.

Another big trend that emerged was the return of the strapless gown. Worn by Julianne Moore, Kate Beckinsale and Salma Hayek, in an evening with almost zero cleavage on display, the shoulders became the new erogenous zone. Coupled with high-necks and long sleeves, this was a night to explore new ways of revealing and concealing.

Glee’s Lea Michele went one stage further with an intricately-embroidered sheer bodice from Marchesa, dripping down into a metallic skirt. It was reassurance that if fashion was steering towards a new age of innocence, there was still some naughtiness left.

But the note that carried through the evening was softness, a demure sensibility that found it way into virtually every gown. In physics, it is said that for every action there must be an equal and opposite reaction, and this is a law that fashion applies with rigour.

As times are getting together (even in Hollywood), fashion is becoming softer with gentler colours and soft-focus silhouettes. Highly adept at providing us with what we want (before we even know it ourselves), fashion is giving us no-fuss, no-stress solutions. The carefree sartorial tone was perfect for the Globes: in a ceremony that refuses to take itself too seriously, the glamour on show was all about the art of subtlety. It is no accident that body-con was a trend persona non grata. Breaking away from the old codes of glamour, the Globes was clearly writing a style language all its own. With some of the best looks of the night being the most unexpected, the sheer variety presented meant that if you couldn’t find something you liked on this red-carpet, you just weren’t looking hard enough.

In a year where cinema celebrates heroes and villains, a red-carpet divided so definitively between light and dark cannot be that surprising. From the heroism of ‘War Horse’ and ‘The Help’, to the complex political legacies of Margaret Thatcher and J. Edgar Hoover, never has Hollywood been so brazen in its depiction of the moral maze.

This new phase that sees Hollywood explore good and evil, light and dark, with such relish takes the industry into unchartered territory. After all, this could be the year where a silent film walks away with the biggest awards: something that only five years ago would have seemed unthinkable.

Hollywood’s willingness to go deeper and take real risks is being reflected in the red-carpet. Against this backdrop, all-out glitz would just look wrong; what’s taken its place is a subtle art of red-carpet dressing. No fuss, no frills – just beautiful, epic design. 2012: it’s going to be a very good year.

HELEN TOPE