RED CARPET PREDICTIONS: GOLDEN GLOBES 2015

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

(Felicity Jones wearing Dior Couture, 2014)

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

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

(Emily Blunt wearing Prada, 2014)

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

(Rosamund Pike wearing Alexander McQueen, 2012)

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

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

(Emma Stone wearing custom Thakoon, 2014)

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

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

(Amy Adams wearing Oscar de la Renta, 2013)

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

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

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

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

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

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

HELEN TOPE

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

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

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