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

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

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