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

MASTERING THE GAME: EMMYS 2014

No-one likes a foregone conclusion, but it seemed that we were willing to make an exception for this year’s Emmys. With audience and critic favourite, ‘Breaking Bad’ winning the big awards, you could say there were no real surprises.

Outside on the red carpet, the big story was one of tailored, fail-safe gowns in pale, shimmering shades. White proved a popular choice, worn by Taylor Schilling (in Zuhair Murad), Sofia Vergara (Roberto Cavalli) and Kristen Wiig in Vera Wang.

While ‘Orange is the New Black’ star Taylor Schilling can count her Emmy red-carpet appearances on one hand, you’d never know it from her confident selection of Zuhair Murad. A designer known particularly for working with Jennifer Lopez, hiding away in a Murad gown is nigh on impossible. The modern fit – slightly loose on the bodice with a fitted skirt was perfect for Taylor: a dose of contemporary glamour that never overwhelmed this new red-carpet regular.

Glitz can be hard to carry off, but an Emmys stalwart who’s never shied away from the challenge is ‘Modern Family’s Sofia Vergara. The mermaid, figure-hugging silhouette has become something of a personal trademark for Vergara, who has had numerous red-carpet hits with this flattering shape. However, this year the glitz was put on hold, and traded in for sublime fit.

The white, expertly-tailored gown from Roberto Cavalli worked with Vergara’s famous curves to create a beautifully subdued exploration of Sofia’s style. It was still recognisably Vergara (complete with Old-Hollywood styling), but with metallic accents on the bodice that played more to the catwalk than many of her previous looks. Compromise is never a great word when it comes to fashion, but a little Sofia and some Italian glamour made for red-carpet magic – with the dazzle built-in.

The magic of the red carpet is the potential for a catch-your-breath moment that transforms the game from multi-player to winner takes all. This year, that moment was reserved for ‘Masters of Sex’ star, Lizzy Caplan.

Caplan took centre stage in a monochrome Donna Karan gown of such effortless beauty that she outshone many of the bigger names in attendance. The key here was fit: from every angle this halterneck gown with dramatic cut-outs should be impossible to wear. But this was one of Karan’s best red-carpet moments: the fit to Caplan’s body was impeccable. Lizzy’s ease at wearing such a dramatic piece was the finishing touch, putting this Emmys newcomer on everyone’s radar. Their stunning success could mean we’re seeing the start of a beautiful fashion friendship.

But if you’re still yearning for some colour on the red-carpet, your Emmy regulars didn’t let you down. Blush, raspberry and coral shades almost outnumbered the pale and interesting- and there was certainly no missing them.

‘Project Runway’ presenter Heidi Klum reminded everyone of her supermodel credentials in a coral gown and capelet by Zac Posen. Dubbed by the designer as an ‘angelic’ dress, the capelet attached to Klum’s shoulders fluttered gently in the breeze, making her a vivid presence on a red-carpet dominated by bold, headliner looks.

‘Scandal’s Kerry Washington – as you might expect – went in a different direction with her colour palette, opting for a burnished orange column gown by Prada. As always, a partnership between Washington and Prada promised something extra. This time, the gown was split to the waist , revealing a black, beaded underskirt. Kerry is known for her passion for fashion and isn’t afraid to take risks that might have other nominees reaching for that can’t-fail ballgown. Washington’s MO is to invert the game: it is rare to find her wearing the colour of the moment.

Kerry Washington is truly one of the red carpet’s most prolific daredevils: her love affair with high fashion continues to see Kerry raise the bar on her own style stakes. She is one of the few stars who spur themselves onto bigger and better, every red carpet season. Washington’s style has its own narrative – you may not love every single plot point, but the story as a whole is fascinating.

Coral and red was the main colour story, though, with stars such as Minnie Driver, Christina Hendricks and Claire Danes all opting for shades of scarlet. But the person who simply stole the show in custom-made Carolina Herrera was ’Veep’ nominee and winner, Julia Louis-Dreyfus.

Cleverly matching the raspberry-toned fabric with a darker, patent-leather belt and collar detailing, the Carolina Herrera gown won serious sartorial points by being tailored to perfection. Fitted but never clinging, this sexy look was just right for a woman at the peak of her career. Worn with loose, tousled hair, this was a supremely confident outing, with the 5’3” star walking tall on the red carpet.

To call this red carpet a collective of safe bets was to miss the point entirely. While the gowns themselves stayed on the side of conservative elegance, it was who wore what that got everyone talking. When one of the biggest names in cinema bares her famous pins (foregoing the prescribed cocktail length), and one of the newer names in television rebels against the pecking order in a knock-em-dead movie star gown, it is this rule-breaking spirit that was the big surprise of the night.

Most of all, it showed the importance, whether newcomer or headliner, of mastering the game. By inverting the rules, what is expected, those who got it right played to their strengths. Lizzy: to her innate elegance, and Julia to her seasoned, unassailable confidence.

Far from being boring, this Emmys red carpet was a slow-reveal of sartorial delights. From Kerry Washington’s high-fashion, high-wire act to Sofia Vergara nailing bombshell chic, while there may not have been much colour there was certainly plenty of drama. Subtle, refined and deftly handled. All you had to do was look for it.

HELEN TOPE

NEW GLAMOUR, NEW RULES: OSCARS 2014

It can be said that making a good impression on the red-carpet can give your career a boost, but when it comes to the Oscars, that boost can translate into a whole new chapter. Any publicity may be good publicity in Hollywood, but at the Oscars, good publicity is priceless.

No-one understands the power of a red-carpet moment better than Cate Blanchett. Ever since her debut at the 1999 Oscars, Blanchett has understood how to strike the balance between being different and being appropriate. With a series of Oscar hits under her belt (including her previous Oscar win whilst wearing canary-yellow Valentino), all eyes were on Blanchett to see what she would pull out of the bag for her moment as Best Actress nominee.

Cate didn’t disappoint, arriving in a custom-made Armani Prive gown. In a shimmering champagne gown with exquisitely worked beading, Blanchett’s transition from critics’ favourite to bona fide film star was complete. Cate’s transformation has been fashion-led all the way. From January when she showed she meant business in black-lace Valentino, her newly-defined star status has been thrilling to watch. Blanchett’s love of fashion has found its voice this awards season, with Blanchett trying on every style on for size. Blanchett’s previous flirtation with high-end, directional fashion has broadened into an intelligent glamour that has taken her personal style onto new heights.

She dazzled in an Armani gown that was notable for its restraint: the heavily-embellished dress had a lightness of touch that made this take on classic Hollywood glamour feel new and fresh. With softly-waved hair and make-up that was pitch perfect, Blanchett may have yielded to glamour on her road to that Best Actress Oscar, but it was all done on her terms. With no obligatory nods to the big trends, every look during the awards circuit has stood on its own merits, making Cate a stand-out at every ceremony. In every sense, 2014 really has been Blanchett’s year.

This season has seen many fashion triumphs, and no-one made a bigger impact on the red-carpet than Lupita Nyong’o. Virtually an unknown 6 months ago, Nyong’o is now a fashion favourite – and multi-award winner.

Her simple red-carpet formula of primary brights paired with bold silhouettes has been a knockout, with Lupita impressing from the very start of this awards season.

It all culminated in her appearance at the Oscars, wearing a custom gown by Prada; the delicate, Nairobi blue pleated gown was a romantic, sweeping statement. Lupita was unmissable on the red-carpet – in a year dominated by metallics and neutrals, Nyong’o opting for colour was the smartest choice of the night.

Accessorised with crescent earrings and a specially-made diamond headband, Lupita’s appearance was understated yet bursting with confidence. For those who have followed Lupita’s first steps into red-carpet glamour, this Prada gown was merely a promise fulfilled: while Blanchett has transformed into a Hollywood great, Lupita has become fashion’s newest obsession. Her innate understanding of how fashion works, coupled with her fearless approach to colour and shape means that Nyang’o has set the standard for ingénues – rewriting the rule that it takes time to find your fashion feet. Lupita’s style hit the ground running – and following that is going to be a very tough prospect for the next big thing.

The Oscars was a return to form for many of the stars attending: Jennifer Lawrence and Amy Adams in particular have had a very mixed reception to their red-carpet picks. While Adams’ electric-blue Berardi gown at the SAG’s proved to be the hit of the night, her BAFTAs and Golden Globes outfits reached no firm consensus with the fashion pundits.

But Adams returned to the Oscars with a bang – wearing a perfectly tailored gown by Gucci Premiere. Its expert construction was famously put to the test when Adams got her groove on during Pharrell Williams’ performance during the ceremony.

Jennifer Lawrence also saved the best for last, as she arrived in a tomato-red peplum gown by Dior. With only the peplum frills as the detail, the vibrant colour let Jennifer shine. It also proved a canny choice when she took part in ‘that’ selfie – Bradley Cooper may be front and centre in that photo, but your eye goes straight to Lawrence in that bold hit of red.

The most noticeable trend of the night was a blend of metallics and neutrals. Stars eschewed the brights and prints seen on the runway for Spring / Summer 2014, and went with camera-friendly shades.

Angelina Jolie led the way in a shimmering bronze gown by Elie Saab. If you wanted refinement and elegance on Oscar night, Angelina was only too happy to oblige. Beautifully matched with hair and make-up that spoke of discreet luxury, this look was typical Brand Jolie. Angelina doesn’t need bells and whistles to look good – her headline-grabbing appearances in head-to-toe leather have been replaced by an easy elegance that is grown-up without being stuffy. Jolie has become the best in the business at putting this look together. She has been imitated many times – but never bettered.

The neutrals were also hitting home runs with Naomi Watts, Meryl Streep and Kate Hudson in shades of white.

Hudson’s appearance in Atelier Versace was one of the most striking looks of the evening, with Kate channelling Eighties glitz in a beaded gown with shoulder detail, accessorised simply with side-sweeping curls. The 80’s shoulder had its own micro-trend moment, also being worn by Camila Alves, wife of Best Actor winner, Matthew McConaughey.

Camila gave a masterclass in how to dress when your husband’s massive career gamble has paid off – in spectacular fashion. Bucking the expectation of a nominee’s spouse to fade into the background, Camila garnered as many column inches as Blanchett and Nyong’o in softly draped pink, courtesy of Gabriela Cadena. The gown was elegant power-dressing personified – and put Camila (and Cadena) in the fashion spotlight.

It was a night of firsts: with first-time nominees scooping Best Actor and Best Actress. The relaxed atmosphere, led by presenter Ellen De Generes, set the tone for a bright and breezy Oscars that (quite literally) had everyone up and dancing. The emphasis on fun over formality was a ratings-winning strategy, and a philosophy that spilled over onto the red carpet.

Instead of following the trends and labels of the moment, nominees and presenters alike created their own fashion rules, opting for classics, with rare touches of colour among the metallics and neutrals.

But the difference this year was subtle but crucial: the red-carpet was a reminder not to equate classic with boring. The exquisite detailing of this year’s gowns was the big story – if you were looking closely enough. Whether it was pleating, draping or light-as-air beadwork – the beauty was all in the finer detail.

Gowns that demand a closer look have definitely been the overarching theme for this year’s awards season. The confidence to go with a look that’s not off-the-peg is a reassurance that Hollywood is starting to craft its own fashion narrative – one that defines and expresses star status (and star potential).

Every gown had its own story to tell: the pale-blue pleated gown worn by Lupita Nyong’o revealed an ingénue full of self-confidence; the champagne gown worn by Cate Blanchett was a dress fit for Hollywood royalty, but its emphasis on restraint puts Blanchett in a rare category of star – where the role really does come first.

Almost without exception, everyone brought their sartorial A-game to the ceremony, and the result was a carpet where modern detail was etched onto timeless silhouettes and bold, contemporary colour brought freshness and vivacity to classic shapes.

It was the least trend-defined Oscars carpet in recent memory, with stars delivering a very personal interpretation of what glamour meant to them. With Cate Blanchett, that was couture detail – with Amy Adams, it was impeccable fit.

This individual approach made for a very unique red-carpet experience – one that played outside the rules, challenging our preconceptions of what a red-carpet event should look like. In making it personal, they made it beautiful. It will be a tough act to follow, but for awards season 2015, the game is well and truly on.

HELEN TOPE

 

DAY AND NIGHT

In a season that saw a return to grand statements and big ideas on the catwalk, where before day and eveningwear had been sharply defined, dispatched each to their own corner, this season has seen decoration and embellishment move from night into daytime territory. It is a deliberate blurring of the fashion lines that appears to be to everybody’s taste.

The trend goes in at an expected angle; gem work on bomber jackets (a too-cool-for-school number from Dries Van Noten); heavily decorated jeans at Chanel and beaded gilets at Loewe. The juxtaposition of decoration with your weekend favourites lends a new lease of life to both. As Dries Van Noten showed with their dove-grey bomber jacket, casual-meets-formal can be truly a thing of joy, not to mention being eminently wearable.

For the ultimate in one-stop chic, Givenchy’s heavily-decorated sweatshirts lead the pack. Emblazoned with punchy, fun prints and sequinned sleeves – these sweatshirts are anything but slobby. Taking a leisurewear staple and making it a wear-anywhere item, Riccardo Tisci’s stroke of genius has launched dozens of high-street versions. Zara and Topshop in particular are taking this trend and running with it. Pair the sweatshirt with jeans or a midi skirt, and this outfit is the perfect smart-casual hybrid without losing valuable fashion points.

The emphasis with this trend is to retain an element of luxury: the finishes are elegant rather than in-your-face. The continuing exploration of couture finish at ready-to-wear level finds its logical conclusion here: daywear and leisurewear get a lift from sparkle and shine – but the intention is not to dazzle, but to charm.

This softly-softly approach has informed fashion as a wider trend for several years now. You can see it in every Autumn / Winter 2013 show, from Moschino’s biker coat in exuberant fuschia, to feathers being the new eveningwear staple at Nina Ricci, Erdem and Proenza Schouler.

The softening of fashion’s hard edges has seen a resurgence in texture as the main story. This day-to-night look relies on embellishment to provide that all-important third dimension, which takes this trend beyond mere glitter and translates it into something of substance.

As s subtlety and softness have pervaded the runways this season; fashion by necessity has become more sophisticated. Silhouettes become more challenging, hemlines lower and the only erogenous zone in play is the mind: when Dolce & Gabbana present an entire collection referencing the Byzantine mosaics at Sicily’s Monreale Cathedral, it’s fairly clear that we’re being asked to engage with fashion on a whole new level.

Once the reserve of cerebral haute couture, big ideas have now come to form the backbone of every RTW collection too. Its ability to survive economic meltdown has given RTW the confidence to take itself a little more seriously, and this is the result: clothes that bridge the gap between statement couture and sellable RTW, finding a middle ground that’s engaging as it is heart-stoppingly beautiful.

HELEN TOPE

A STYLE REVOLUTION: OSCARS 2013

As the Awards Season draws to a close, this year’s Oscars can boast its fair share of drama: unexpected wins, history-making moments and a coup de theatre via The White House that took everyone by surprise.
While the action on stage never seemed to take pause for breath, the pace of the red carpet was just as thrilling: even from the first arrivals, it was clear that sartorial surprises would be the theme of the night.

Anne Hathaway, one of the big winners of the night (and throughout this Awards Season), not only turned up in a different dress, but one made by a different designer. Touted as being one of the actresses expected to turn up in Valentino, Hathaway made a switch at the last minute, opting for Prada.
The pale pink gown, paired with Tiffany jewels, looked to be inspired by her post-Les Miserables crop. The simplicity of the cut, with the heavy-duty satin, referenced Sixties starlet with a modern twist. Unfortunately for Hathaway, making a last-minute switch with her gown yielded mixed praise from the fashion pundits. Wearing satin is a gamble: a notoriously difficult fabric to work with, it is also tricky to wear without puckering or creasing. The gown, though not without its charms, looked like a last minute decision: the styling looked rushed, with the jewellery chosen not working with the high neckline. Luckily for Hathaway, this was her big night, and when you have a gold statuette as your chief accessory, nothing else really matters.

The pale trend continued with both Charlize Theron and Oscar winner Jennifer Lawrence both opting for Dior Couture. It was a brilliant night for the French couture house, with Raf Simons ably demonstrating how to dress two very different women. Theron, a red-carpet regular, appeared in a piercingly-white two piece, with a beaded peplum detail. Matched with Theron’s new pixie cut, it was cool, sophisticated and modern couture at its best.

But if you wanted full-on drama, Jennifer Lawrence’s Dior gown offered it up in spades. The fitted three-quarter bodice flowing into a voluminous skirt photographed beautifully both on the carpet and at the ceremony. It never seemed to overwhelm Lawrence, even though it did at one moment threaten to halt proceedings when Jennifer slipped on the steps when collecting her award. Epic in scale, and impressive from every angle, it was a gown that endowed the winner with authority and elegance: for an actress taking her career to the next level, this dress was an inspired choice.

Nude shades got a lift when early arrival Jessica Chastain appeared on the carpet in a copper-toned gown by Armani Prive. Expertly beaded to enhance her best features, Chastain wisely accessorised with a maroon-coloured lip and softly-waved hair. It had all the Old Hollywood references you could wish for: combining traces of Veronica Lake and Ava Gardner, Chastain oozed glamour but her no-nonsense styling kept it contemporary.

Someone else who got the ‘softly softly’ memo was last year’s winner for Best Supporting Actress, Octavia Spencer. Staying loyal to one of her favourite designers, Tadashi Shoji, Spencer worked the pale and interesting trend to perfection. Wearing a nude beaded chiffon gown with a stole sweeping across her shoulders, Spencer looked every inch the returning star.

But where some chose to tread lightly, others decided to dazzle with colour and depth. Naomi Watts, nominated for ‘The Impossible’, arrived in a gunmetal gown by Armani Prive. With the asymmetric neckline looping around Watts’ shoulders, this was a directional look not for the faint of heart. Thanks to the attention to detail customary with Armani Prive, this beautifully-worked gown was no gimmick, but one of the most memorable looks of the night. You had to wonder if those who played it safe regretted their choice when seeing Naomi.

Red is always a red-carpet favourite, and it made a comeback with nominee Sally Field and presenter Jennifer Aniston appearing in scarlet Valentino. Aniston made a rare departure from her usual modus operandi of black and figure-hugging to venture into the world of couture. Her strapless gown, with typically Aniston low-maintenance styling, was unexpected, but showed that Jennifer is not a one-note fashionista.
Sally Field also impressed with a Valentino attention-grabber. Softly gathered at the waist, the long-sleeved gown was age appropriate without piling on the years. Covering up can sometimes be misconstrued as ageing up, but the sheerness of the sleeves and the emphasis by Valentino on fitting the fabric close to the body, made this nominee one of the evening’s Best Dressed.

There is always one attendee who’s happy to stand out in a crowd, and this year that person was Kerry Washington. Already proving to be one to watch after a sartorial grand-slam this Awards Season, Washington turned up to the Oscars in a coral gown by Miu Miu.
Taking the Sixties as her trend reference, this beaded bodice with column skirt was a fresh wash of colour, on a carpet where everyone else seemed to be wearing red, black or nude. Already accomplished at picking the best of the runway, this was a textbook red-carpet appearance for a woman known for her love of fashion, and the good news for Kerry is that the feeling is mutual.

Another attendee who bucked the trends was Jennifer Garner. At the Awards to support husband Ben Affleck, Garner had a fine line to tread. Wanting to dress with gravitas appropriate for the wife of a nominee, but not to draw attention away from him, striking the right balance can be almost impossible.
Thankfully, Jennifer made the right call with a plum-coloured gown by Gucci. From the front, the gown was a strapless column; but the back was covered with gloriously effervescent ruffles. A dress built for business and pleasure, this was a fun take on the traditional ‘supportive wife’ outfit. Paired with a stunning platinum diamond collar by Neil Lane, Garner’s was one of the stand-out looks of the night.

While some of those attending fell short of our expectations, there were some surprises that made this Oscars red carpet one of the most interesting in years. Some took risks, others upgraded their style and others just went all out to impress. Those who dared to be different made the biggest impact, choosing gowns that hinted of Oscars past and Oscars future. The vast majority of looks fell wide of the fashion radar, with many choosing to bypass trends altogether, opting for gowns that inspired and flattered. Rather than trying to dress to trend, the Best Dressed of the night wore gowns that defied categorisation making for a red-carpet that was bold, beautiful and full of intelligent choices. Invigorating and proudly individual, this year’s red-carpet bore witness to a style revolution.

HELEN TOPE

KEEPING IT SIMPLE, KEEPING IT REAL: TOP 10 OSCAR DRESSES

With the 2013 Oscars just hours away, attention again turns to the red carpet. Once dubbed the world’s most powerful catwalk, the Oscars present a golden opportunity for stars to raise their game. Regardless of nominations or wins, scoring Best Dressed of the night can boost a fledgling career, herald a comeback or make us look at a star in a whole new light.
A good dress can garner all the right kind of attention; but a great dress creates its own legend. There have been moments on the red carpet where a dress becomes part of Oscar history. These 10 dresses that follow are a purely partisan selection, but gowns that I feel have earned their place: either by virtue of marking a moment in Oscar fashion history, or simply by being beautiful.

Grace Kelly (1955)
Winning an Oscar for her performance in ‘Country Girl’, Kelly turned up to the ceremony in what was (at that point) the most expensive gown ever worn to the Oscars. Designed by Edith Head (who herself won 8 Oscars for costume design during her career), the silk used for the gown alone cost $4,000. Expertly tailored with minimal accessories, Grace Kelly’s simple-but-effective gown has become the standard by which all red carpet style is measured. This look may be nearly 60 years old, but it still looks contemporary. When fashion pundits say true style is timeless, they almost certainly referring to this gown. An Oscar’s classic.

Uma Thurman (1995)
Forty years on from Grace Kelly’s triumph, Uma Thurman re-introduced minimalist chic to the red carpet. After decades of formal, heavily decorated evening gowns taking the sartorial lead (with varying degrees of success), Uma made the pivotal decision to keep it simple.
Nominated for her appearance in ‘Pulp Fiction’, Uma went back to the drawing board. She liaised with up-and-coming designer Miuccia Prada to create a delicately-feminine gown and matching stole in lavender. Uma (a former model) worked the gown on the red carpet with aplomb. Sophisticated but still youthful, the gown was a love letter to the best of 1990’s minimalism.
Uma’s decision to go designer was a watershed moment for red-carpet fashion. The relationship between film and fashion was re-ignited, and the formal eveningwear was replaced with the best of the runway.

Sharon Stone (1996)
One year on, and thanks to Uma, the red carpet looked very different. Finesse took the place of extravagance, and no-one took this lesson more to heart than Sharon Stone.
Nominated for her role in ‘Casino’, Stone reportedly had a wardrobe crisis, and unable to go ahead with Outfit A, had to resort to a hasty Plan B. In a stroke of genius, Stone paired a trumpet skirt from Valentino with a charcoal poloneck from high-street store GAP. Finishing the outfit with a jacket and vibrant red lipstick, Stone hit the red carpet.
It was an act of sheer daring, but it paid off. The Oscars red carpet is littered with examples of bold gestures that failed to launch, but Sharon’s sartorial leap of faith worked because the detail was kept to a minimum. Looking at this picture, there is nothing dated here: everything is a classic piece and together, they work beautifully.

Nicole Kidman (1997)
Two years on from Uma Thurman’s success with Prada, Nicole Kidman showed us just what could be achieved by embracing haute couture.
Hiring John Galliano, Nicole allowed the designer free rein. As one half of the most famous couple in showbiz, Kidman was taking a huge risk, but her ability to pick the best design talent would prove uncanny in its accuracy.
This gown formed part of Galliano’s debut collection for Dior Couture. Oozing Asian-inspired influence from the silhouette down to the exquisitely hand-stitched embroidery, this dress was not just to be worn, it was to be admired as a piece of art.
Kidman wore the gown with a respect worthy of the hours spent creating it and this dress made headlines around the world, cementing Kidman’s reputation as a style icon and Galliano’s status as the next big thing. It ushered in a new era of couture, with actresses eager to take their style to the next level.

Cate Blanchett (1999)
A new face in Hollywood, nominated for her star turn in ‘Elizabeth’, Blanchett took the couture mantel laid down by Kidman and ran with it.
Also opting for John Galliano, Cate’s gown was very different to Nicole Kidman’s theatrical glamour. Worn close to the body, the selling point of Cate’s bohemian-style dress was all in the back. With hummingbirds and flowers delicately stitched onto a sheer panel, the result looked as if the detail had been tattooed onto Blanchett’s skin.
It was a left-field choice for the actress who was expected to turn up in something grander, more befitting her role in the film for which she was nominated. But Cate went in the other direction, creating a first impression on the Oscars red carpet that was individual, intelligent and intriguing.
This style blue-print has been Blanchett’s motto throughout the years. She eventually picked up an Oscar in 2005, turning up to the event in a canary-yellow silk gown from Valentino, accessorised by a burgundy velvet sash. Fearless in her choices, Cate has been one of the red carpet’s most reliable stars when it comes to understanding (and wearing) high-fashion.

Kate Winslet (2002)
A modern red-carpet veteran, Winslet has been seen in everything from an emerald, empire-line gown by Alexander McQueen to a futuristic silver column dress by YSL. Choosing to bypass trends, Kate has won her Best Dressed laurels by going for looks that optimise her best features.
Nowhere was this more evident than in her appearance at the 2002 Oscars. Wearing a red gown by British designer Ben de Lisi, the gown’s asymmetric shoulder was crowned with a garland of flowers. Expertly fitted to Winslet’s curves, this feminine, sensual gown was a no-brainer for Best Dressed.

Charlize Theron (2004)
A great tip for nominees: if you really want to win, dress the part. Both Charlize (and Sandra Bullock in 2010), in their zeal to win the statuette, went for gold.
Charlize, who won for her performance in ‘Monster’, turned up in a custom-made Gucci gown. In the palest shade of gold, and beaded from top-to-toe, this dress was a triumph of subliminal messaging.
Theron, who had already proved her fashion nous, styled the gown with 40’s inspired finger waves and delicately-glowing make-up. Charlize not only shimmered on the red carpet, she was the absolute centre of attention. A favourite to win in the months leading up to the ceremony, this show of self-confidence was touching. In an awards circuit where modesty is the default setting, Theron’s bold decision to dress as the front-runner was not only audacious, it was downright inspiring. This is as close an interpretation of girl power as red carpet fashion gets.

Michelle Williams (2006)
An actress who marches to the beat of her own drum, Williams is one of Hollywood’s most ambiguous talents.
Nominated for her moving performance in ‘Brokeback Mountain’, Michelle’s red carpet choice won hearts – and raised eyebrows. Turning up in a mustard-yellow, softly-ruffled gown by Vera Wang, this outfit divided opinion, but those who got it, loved it.
Paired with a deep-red lip colour, Williams’ choice was one of those Oscar moments you either adored or loathed. For my money, this was clearly a selection Williams made with her heart, not her head, and this is why I feel it works. A woman in the wrong dress is obvious: despite her best red-carpet training, her body language will always be awkward and uncomfortable. The smile feels forced, rather than genuine.
What Williams did was to go with the choice that may not have seemed right, but it felt right. Going with her instinct, Michelle’s look made fashion history. Not because it was ‘right’ or ‘wrong’, but because of her absolute confidence in the dress, Michelle was utterly convincing.

Jennifer Lawrence (2011)
Another unashamedly personal choice, Jennifer Lawrence has seen her profile rapidly ascend in the space of two years.
Pictured here nominated for her stunning performance in ‘Winter’s Bone’, Lawrence returns again in 2013 as one of Hollywood’s hottest names. But her inaugural appearance at the 2011 Oscars was a master-class in how to make yourself memorable.
Lawrence did this by utilising the first rule of Oscar dressing: if in doubt, keep it simple. She wore a custom-made jersey gown by Calvin Klein creative director, Francisco Costa. It was red, slinky and effortless – and completely at odds with the heavily detailed gowns in favour that year such as the Givenchy Couture dress worn by Cate Blanchett, or Mila Kunis in lilac lace by Elie Saab.
By going against the grain, Lawrence became the ingénue we all remembered. In being brave enough to be different, Jennifer showed her star potential.

Gwyneth Paltrow (2012)
Like her peers, Cate Blanchett and Kate Winslet, Paltrow’s personal history with the Oscars is extensive.
Winning in 1999 for her performance in ‘Shakespeare in Love’, she appeared in a classic Ralph Lauren ballgown in pink taffeta. Turning up in 2002, she arrived in a gothic-inspired sheer gown by Alexander McQueen. Ill-fitting, and sheer in all the wrong places, this was by any standard, an epic fail.
Since then, Paltrow has redeemed herself many times over, with some great looks. But any future appearances will have to work hard to eclipse her triumph at last year’s Oscars. Head-to-toe in arctic white, Gwyneth’s outfit was tailor-made by Tom Ford. Wearing an asymmetric column gown with matching cape, this was a mastery of fabric and form. It was cool and contemporary, but in its sophistication, it was totally appropriate for Paltrow. This outfit erases Gwyneth’s early reputation as the ‘next Grace Kelly’ and transforms it into something far less expected. Her latest incarnation is modern, fresh and unique – and couldn’t be further removed from that pink ballgown.
In not being afraid to change and adapt, Gwyneth has learnt from her mistakes, and has followed her instincts to create a style that’s emphatically her own. As far as red-carpet fashion goes, there is no more worthwhile lesson. Keep it simple, but keep it real.

HELEN TOPE

METAL WORKS: MET GALA 2012

A night known for surprises, the Met Gala held earlier this week in New York gave the fashion world an evening to remember.

Normally the place for big, fashion-forward statements, the Met Gala seemed like a red-carpet of a bygone age with stars going for metallics in gold, silver or pewter. This camera-friendly trend may seem like the obvious choice for an event where fashion is the main feature, but in recent years, metallics have fallen from favour. With its full-on glitz, it began to look old-fashioned, almost too much in an age of austerity. So in came a new palette of soft blushes and nudes. It was virtually a fail-safe look if you chose the right shade for your skin tone and proved popular with both stars and fashion pundits.

This then gave way to more runway-conscious looks, with stars borrowing pieces seen on the world’s catwalks only days or weeks before. It became a fashion free-for-all with stars competing to get the most cutting-edge designs available. Everything was seen on the red-carpet from fringing to laser-cut detail. The red-carpet once again became a place for experiments: some worked, others didn’t. The experiments made for a red-carpet that was fun as it was radical, but as with everything in fashion, trends come full circle.

Those who stepped out on Sunday also stepped back in time: everywhere you looked at this year’s Met Gala, someone was giving you old-school glamour. ‘Modern Family’ star Sofia Vergara shone in a silver Marchesa gown; Lana Del Rey channelled superhero chic in a caped silver dress from Altuzarra and Scarlett Johansson wowed in a fairytale ballgown courtesy of Dolce & Gabbana.

Model Karolina Kurkova gave us the maximum dazzle per square inch with a show-stopping gold gown with matching headdress from stylist-turned-designer, Rachel Zoe. Love it or hate it, this statement piece clarifies just what separates the Met from all the other red-carpets. If in doubt, go for broke.

Also going for the bright stuff, Jessica Alba and Nina Dobrev turned out in classic goddess gowns. Alba directly channelled Marilyn Monroe in a gold pleated gown from Michael Kors and Dobrev wowed again in Donna Karan, proving that sartorial excellence isn’t just reserved for the big-screen stars.

With so many attendees going for a similar look, the big question is why a metallic revival now? These types of gowns were noticeably absent from the awards circuit earlier this year. The quickest route to glamour, metallics have a long-standing association with Hollywood, but in 2012 it was pastels, monochrome and lashings of dark sequins making all the headlines. Red-carpet fashion looked set to be heading in a new direction, making this U-turn all the more surprising.

As good as metallics are for grabbing attention, there is the risk that one look blends into the next. Those who played the metallic card with verve went for bold shapes and high hemlines, giving substance to a finish that can at times be one-dimensional.

Gwyneth Paltrow and Carey Mulligan racked up the most column inches, with both turning up in Prada, but worn to very different effect. Mulligan went for full-on modernist glam with textured metallic pailettes and hair swept back off the face. Paltrow went softer, with a silver-lilac mini. The angular detailing and razor-sharp cutaways made Gwyneth’s Prada turn one of the best looks of the night. Following her big moment at the Oscars, the Prada dress was a logical move following the white Tom Ford dress and cape.

After nearly twenty years as an A-lister, what Gwyneth teaches the younger generation is sartorial narrative. She has gradually evolved from the 90’s Grace Kelly in sherbet-pink to a confident, modern woman not afraid to take chances. Each look, plotted against the last, makes perfect sense as you see Paltrow physically move from ingénue to star. Even her mistakes have led her onto bigger and better ideas. Like her contemporary Cate Blanchett, Gwyneth has always applied intelligence to her red-carpet choices. As Paltrow enters her forties, it’s a strategy that’s finally paying off.

Carey Mulligan, who co-hosted the evening with Anna Wintour, went dressed in homage to one of the designers of the night. The exhibition, ‘Impossible Conversations: Elsa Schiaparelli and Miuccia Prada’, drew parallels between the surrealist designs of Schiaparelli and the heady mix of references we’ve come to expect from Prada. Carey’s gold and silver creation from Prada was a radical rethink on sequins. Worn in their large pailette form, they were layered so densely it gave the impression that Mulligan was wearing armour.

After a lengthy absence away from the spotlight, if metallics were to return to the red-carpet, they needed an image overhaul to get us excited about them all over again. Carey’s gown – coolly glamorous and definitely memorable – was the perfect way to reintroduce us to an old friend. As worn here, metallics looked fresh, sophisticated and inviting. The reputation of metallics has suffered by being more recently associated with D-list celebrities looking to get a quick publicity hit. This Prada intervention was enough to catapult metallic back to the top of every fashionista’s wish-list.

Seduction was also on the cards with starlets going for flashbulb appeal – Lea Michele wowed in a midnight-blue gown dripping with sequins from Diane Von Furstenberg, and Ashley Greene wearing a Donna Karan gown was a masterclass in how to do sexy without body-baring on a grand scale. Sexy got a 21^st century interpretation from ‘Mad Men’s January Jones in a canary-yellow Versace dress. The figure-hugging bodice poured down into a peplum detail that made the most of January’s post-baby body, proving that dazzle can be applied in a subtle medium and still have the desired effect.

There was plenty to admire this year, but the clear winner was metallics. Worn in new and exciting ways, this old favourite has come storming back as the red-carpet trend not only of the night, but the year. This is already being touted as an early indication of what the Awards Season in 2013 will look like. Marrying old-school glamour with couture sensibility, the Met Gala truly saw the best of both worlds.

HELEN TOPE

SUGAR AND SPICE

When it comes to fashion, every season has its big idea: the one trend that comes to define those six months. Some ideas are harder to pin down than others: some play hard to get while others need to come equipped with their own translation manual.

But every so often the fashion world gives us a break. There comes a season where the super-trend is writ large for all to see. This Spring, fashion’s big idea is simplicity itself: girl-pleasing clothes in candy-floss tones. Soft, yielding fabrics and gentle pastel colours have set the fashion pulse racing, with feminine shapes ruling the roost.

In particular, this is a season where the dress rules supreme. It is not surprising that the dress continues its hold on our sartorial imagination. Easy to wear, easier still to accessorise, it has moved in the space of five years from occasion-wear to everyday basic. Taken off its pedestal, the dress returns with a sense of purpose. This season it is seen in every possible permutation from elegant lace at Valentino to retro-styled prints at Prada. It becomes a full-blown statement piece, saying as much about you and your style as your handbag or a pair of shoes. The ‘it’ accessory is a thing of the past, but this season, you can own an ‘it’ dress.

The mere idea of dressing to thrill may not be everyone’s idea of a good time, but before you mark up this season as fun but ultimately unsatisfying, it is worth looking again at what’s on offer.

The romance of the season has been tempered with a strong editing eye, and that has happened right from the cutting table. The swathes of pale satin and broderie anglaise are moulded into shapes that are highly sculptural or high-necks and long sleeves that tone down the froth.

Lanvin’s mastery of pleats are the perfect complement to the icy pastels on show; Louis Vuitton’s collection of dresses – designed with no other purpose than to make the heart beat faster – are deftly sculpted; girl made modern.

Decoration here becomes decoration with a function; Prada’s floral duster coats are the lynchpin of a collection teeming with great pieces. Christopher Kane’s love letter to floral is all about demonstrating technique: appliqué, print and laser-cutting become the collection’s raison d’etre.

Smartly executed, the allure of these collections is that they are gorgeous pieces, just aching to be worn. Prada’s collection – a hymn to vintage Americana – is one of their best in recent years, with dresses and skirts so wearable, copies are already emerging on the high-street.

For those who weren’t feeling the urban warrior look, this injection of girlish wonder has been long overdue. This softer look makes a natural progression from A/W’s obsession with texture: shearling and butter-soft leather here become transmuted into silk, lace and cotton – the emphasis is on feel-good fashion (in its most literal sense).

What is most interesting about this trend is that the girlishness comes served with a hefty dose of spice. The Prada collection simmers with an understated sensuality; fabrics usually the sole reserve of eveningwear make the transition to day making the whole business of getting ready in the morning a far more indulgent process. What at first glance appears the picture of innocence begs you to take a closer look: everything is not as it seems.

The decadence offered up by this trend is all in the detail. Colours and techniques are the story here, rather than wanton excess. Sparkle is noticeable by its absence: lustre and shine here come courtesy of silks and satins. The glow is built-in, rather than sewn on.

These clothes seem a world away from the last time girlish fashion set the pace, and they are. The obvious choices are gone, and what we have instead is a more sophisticated palette of wearable clothes. Still feminine, still gorgeous – but nothing here feels (or looks) like a cliché. It’s a celebration of modern femininity: subtle glamour with the hard work already done for you.

It has been asked how this type of look can translate to women over 30, those who remember earlier flirtations with pastel in the 1980’s. The key difference this time is the sheer choice available. Being a super-trend, girlie has been taken on by nearly every designer of note and each has produced their own spin on it. Not keen on the Vuitton girlie show? Try Marni’s more muted shades and prints – perfect for grown-ups. Love Prada’s take on retro but find it a bit too literal? Rodarte steps in with old-fashioned prints in very modern shapes.

Even if you are wedded to urban chic, there are times when every woman wants to indulge – and this season fashion is only too happy to oblige. The good news is that this year’s fantasy has a healthy serving of reality stirred in – there are no set rules, no obligation to don head-to-toe pastels: this really is a trend squarely aimed at what women want. No fuss, just great fashion.

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