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

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

THE ELEMENT OF SURPRISE: BAFTAS 2012

While the cold weather may have prevented some from making the trip to Covent Garden’s Opera House, some hardy souls braved the British winter to make a splash on the BAFTA red carpet.

Traditionally the place for Hollywood’s elite to explore their fashion B-side, what actually emerged in its place was the surprising trend of eco-fashion: once seen as a sartorial sideliner, the BAFTAs may have gone a long way in changing the way we look at green fashion.

Viola Davis, Michelle Williams, Michael Fassbender and Colin Firth all went for the eco option. Viola Davis appeared in a salmon pink Valentino – the very first gown from the Italian label to be made from recycled materials – and Michelle Williams’ custom-made gown from H&M was made using eco-friendly fabrics. Both Michael and Colin sported tuxedos from Giorgio Armani made from organic wool, with the recycled jacket accents originally starting life as plastic bottles (PET). Taking part in the Green Carpet Challenge to wear sustainable fashion to red-carpet events, these stars made a compelling case for eco fashion to be taken much more seriously. This was one red-carpet event with plenty of heart.

Persuaded to go green by Colin’s wife, Livia, who has actively championed green fashion, the eco trend is one we could see a whole lot more of in future events, as Livia has reported today on www.vogue.com that following a trip to the recent couture shows, Karl Lagerfeld has shown interest in exploring eco fabrics. With YSL’s Stefano Pilati and Giambattista Valli reportedly wanting to explore eco options, the profile of green fashion is set to soar.

But the biggest surprise of the night was undoubtedly Michelle Williams arriving in a custom-made gown by H&M. Specially designed for the star, nominated for ‘My Week with Marilyn’, Michelle’s gown was high-street chic on a grand scale. This gown, though not officially part of the store’s Conscious Collection, was a bespoke creation following the same principles of responsible sourcing and production. With an exquisitely-fitted ivory bodice and black skirt with a corsage detail at the waist, Michelle pulled off a fabulous fashion coup. After all, where better to flaunt your high-street credentials than the UK?

Other stand-outs of the night included Tilda Swinton in icy-white Celine. With clean, crisp lines and minimal accessorising, this was red-carpet dressing for the 21^st century. Swinton, nominated for ‘We Need to Talk about Kevin’, is always odds-on favourite to wow us with an avant-garde choice. The Celine two-piece did not disappoint.

Jessica Chastain, Christina Ricci and Gillian Anderson came dressed to thrill in gowns brimming with metallic detail. Chastain’s beautiful pleated gown from Oscar de la Renta was the perfect match for her delicate features, and Gillian Anderson went for rich opulence in a gold vintage 1956 gown from Sybil Connolly. Ricci looked like she was pre-empting the Oscars in a deep gold plunging dress from Givenchy.

The turn-out for cinema’s biggest names was somewhat down on last year, but those who did attend found themselves at a memorable night with ‘The Artist’ scooping many of the major awards, and Colin Firth himself performing an act of gallantry by rescuing Meryl Streep’s lost shoe, creating serious headline wattage across the world. In nights like these that are sharply choreographed, the element of surprise, both on-stage and off,  serves to remind us that while BAFTA may be smaller than your average awards ceremony – it’s perfectly formed.

HELEN TOPE

THE DOMINO EFFECT: SAG AWARDS 2012

Following on from the polarised fashions of the Golden Globes, the SAGs were so strictly organised between black gowns and white, you’d think it was by design. Angelina Jolie, Amber Heard, Emma Stone and Ashlee Simpson were just some of the stars who went back to black, while Lea Michele, Tilda Swinton, Sarah Hyland and Berenice Bejo all went for the lighter option.

While some had old scores to settle after mixed reviews at the Globes, others opted for the element of surprise. No-one could accuse Glee’s Lea Michele of not trying at red-carpet events, but her gunmetal gown from Marchesa worn at the Globes wasn’t the big win Michele had been hoping for. Many cited it as a case of right dress, wrong decade – and bouncing back from that kind of criticism isn’t easy. Michele returned with a light grey chiffon gown from Versace: with a thigh-high slit, this dress was bright, breezy and youthful. Sometimes the best moments come when you just let go – and this Versace gown did all the hard work, leaving Lea to relax and enjoy the evening.

Other young stars explored the more avant-garde side of black. A brilliant colour at supporting bold silhouettes, it’s the perfect anchor for bold designs that would not ordinarily work against a more colourful backdrop. Star on the rise Amber Heard wore a daringly-cut gown from Zac Posen while Emma Stone went for a touch of modern eccentricity in Alexander McQueen.

Far from being prosaic, the decision to go with black or white made for a carpet that felt fresh and modern. Angelina Jolie’s elegant gown from Jenny Packham was entirely unexpected after several appearances exploring the delights of colour. Jolie’s penchant for monochrome has been already exhaustively profiled, but here the colour was softened by the pivotal decision to drape and flatter Jolie’s figure rather than cling to it. If you thought the lure of the goth would be too much for Angelina to resist, this dress was a pure fashion hit, bridging sensuality and romance – and not a frown in sight.

It may well have been the dominant theme of the night, but the domino effect did not rule the red-carpet. Those who broke out from the crowd wore colour: fashion wild-cards Jessica Chastain, Sofia Vergara and Dianna Agron made beautiful choices courtesy of Calvin Klein, Marchesa and Carolina Herrera. Agron, whose fire-red Giles Deacon gown got slightly lost in translation at the Globes, made amends in a fuschia dress from Carolina Herrera. Unashamedly feminine, and gloriously uncomplicated, it was a stunning reversal of sartorial fortune. Chastain, fresh from her Oscar nomination moment whilst at the front row of the Armani Prive show, was still glowing in her light-blue gown from Calvin Klein. There was something definitely in the water when it came to the Oscar nominees: Michelle Williams also went for colour in a lipstick-red gown from Valentino. Cut away on one shoulder to reveal a sheer lace panel, Williams was definitely feeling the spirit of Marilyn in a gown that was unapologetic in its sex appeal.

Sex appeal played well across the board: Modern Family’s Sofia Vergara stuck to her guns in a pink fishtail gown from Marchesa. As someone who knows how to play to her strengths, both on screen and off, this was another home-run for Vergara who ably demonstrates the importance of dressing for the figure you have, rather than the one you want.

What was noticeable on this red-carpet was how many women looked happy and comfortable. In the run-up to the Oscars next month, you could be forgiven for assuming that as the stakes get higher, so does the pressure to go out and impress. But if anyone felt pressured, they certainly didn’t show it. Wearing avant-garde shapes and new colours takes confidence. As if galvanised by the Globes, many stars went not for the safe option, but the choice that moved them forward. Michelle Williams got her sexy on, Amber Heard got herself a whole new style reputation and Lea Michele learned that there is a sartorial freedom in not trying too hard.

The red-carpet, as much as it is a sartorial performance on a grand scale, is also a process of evolution. While some stars progress almost effortlessly to bigger and greater moments, others are quite open about their struggles to find their fashion groove, and some lessons are harder to learn than others: it’s never easy to find out the beautiful dress you thought would be a sure thing was anything but a safe bet. But contrary to popular belief, perfection isn’t what gets you noticed on the red-carpet: progress does. Angelina’s transition from Versace goth to Armani angel has been a long time coming, but her style journey has been fascinating to watch. A generation on, Lea Michele’s rare slip at the Globes doesn’t negate some of her stunning choices in previous years. She can take comfort from the fact that a fall or two does not a disaster make. In fact, it’s the one thing every style icon has in common: a distinct lack of perfection. Playing the fashion game perfectly is boring. Someone who can surprise and delight us – that’s the person who secures our interest.

If the Globes were a turning point for many, the SAGs have proved that progress can be unstoppable as it is beautiful. After this red-carpet, there’s no turning back.

HELEN TOPE