CHANGING THE GAME: OSCARS 2015

There are some Oscar years where the defining mood is hard to pin down – but 2015 was the year where indefinability was exactly the point. No-one wanted to be limited or censored, and the prevailing spirit of the awards took its lead from Patricia Arquette’s rousing acceptance speech. Be passionate about what moves you; and the applause will follow.

While a coming-of-age novel-on-film wrestled with a surrealist musing on ego and the artist, on the red-carpet the contrasts kept coming. At first glance, the carpet seemed divided between pale, shimmering shades and bold swathes of colour, but the real face-off was between ‘classic’, romantic red-carpet moments and their left-field, modernist cousins.

This was nowhere more sharply defined than in the choices made by mums-to-be Keira Knightley and Sophie Hunter. This was pregnancy dressed, two ways. Keira has had issues dressing a growing pregnancy body, veering from an overly fussy Chanel Couture at the Globes to a sweet but underwhelming purple gown at the SAG Awards. Knightley decided to side-step the slinky option and went for full-on romance in an exquisitely embroidered gown by Valentino. Covered in floral appliqué, this dress was stress-free, with minimal alterations required. Keira struck just the right note of sweetly demure, the gentle look playing well with her delicate features.

Sophie Hunter, however, went for Parisian drama in a draped scarlet gown by Lanvin. Neatly accessorised with a positively-beaming Benedict Cumberbatch, Sophie played it cool. Gone are the days of spouses and partners dressing down – Matthew McConaughey’s wife Camila Alves raised the stakes last year in her superlative red-carpet tour, turning up in one knock-out design after another. Camila’s approach to red-carpet dressing has changed the game for plus-ones: there’s no hiding away in a LBD anymore.
This was an Oscars that saw the return of many familiar friends. After a few seasons out in the cold, the classic ballgown silhouette returned in force with Felicity Jones, Lady Gaga and Jennifer Lopez giving us drama – and volume – for days. While Lady Gaga got some heat for pairing her stunning Alaia gown with red gloves, Jennifer Lopez went all-out with the romance in an Elie Saab gown that was perfectly in sync with her skin-tone. While there was too much cleavage on display (for some), the delicate bead-work made this one of my favourite choices for Lopez, who every now and again likes to remind us that she can do elegance really, really well.

But if ballgowns aren’t your thing, and you still like a bit of tradition on the red-carpet, the beaded sheath dress returned, this time adding colour into the mix.

Emma Stone’s custom gown by Elie Saab was a perfect case in point. Wearing a notoriously hard colour, Emma’s chartreuse gown would be a complexion-draining nightmare for 99.9% of the population. But with Stone’s fair skin and red hair, Elie Saab got the shade exactly right. Emma’s gown managed to be both classic and modern; the backless beaded sheath was Hollywood 101, while the daring use of colour could not have been more contemporary if it tried.
Classic glamour paired itself with many of the big winners, including Best Actress Julianne Moore who won her first Oscar in a head-to-toe stunner from Chanel Couture.

The vital statistics of this dress are dizzying. In total, the dress took 27 workers at Chanel 927 hours to make. Nine-hundred and twenty-seven hours. That equates to a month-and-a-half of solid sewing. Created from organza, this dress boasted 80,000 hand-painted resin sequins and flowers – all of course sewn on by hand.
Despite its impressive pedigree, this custom design with its Twenties drop-waist has meant this couture beauty hasn’t been everyone’s favourite. But I will attempt to convert you.
This is a dress designed specifically for the red-carpet; made for the close scrutiny of the camera. Google this gown on http://www.vogue.co.uk and look at it up close, and the detail is what brings the dress to life. Worked on by the best in the business, this is couture magnified. Karl Lagerfeld reminds us to not just take in the picture as a whole, but take time to appreciate the effort and workmanship it takes to bring something like this to fruition. Nuance isn’t just reserved for the big screen – high fashion also needs time and consideration to fulfil its potential. If you weren’t feeling it for Julianne’s custom Chanel, get a closer look and I promise that even if you still don’t love it, you will begin to appreciate it.

While romance scooped many of the headlines, for my money the best looks of the night were pared-back, minimal with a single killer detail.
My personal choice for Best Dressed was ‘Wolf of Wall Street’ star Margot Robbie. Wearing a black, long-sleeved chiffon gown from Saint Laurent, Margot accessorised the retro look with a $1.5 million Van Cleef and Arpels diamond necklace (originally designed for the Duchess of Windsor) – but the editorial edge came from Margot’s beauty styling. Debuting a new, shorter bob and adding a classic note with red lipstick, on a night where natural and glowy set the pace, Margot set herself apart in bold, dramatic style.
While I opted for Margot Robbie as Best Dressed, the verdict now seems to rest with ’50 Shades of Grey’ star Dakota Johnson who also impressed in a red gown from Saint Laurent. A one-shouldered creation with a jewelled knotted detail on the tip of the shoulder, this gown was a feat of engineering – nothing drooped, nothing puckered – everything stayed put. Saint Laurent has to be congratulated for coming up with a gown that exudes discipline, worn by the star of the most notorious film of the year. The dress was undeniably beautiful, and Dakota deserved her spot in the Best Dressed lists, but it was the construction of this gown that needed a round of applause.

The night was not without controversy, but for once, this wasn’t a risqué hemline or sheer panel that raised eyebrows (although Rita Ora’s after-party frock came pretty close).
You may want to check the weather report as I am about to disagree with Reese Witherspoon, and hell might indeed have frozen over. The campaign to get red-carpet pundits to #askhermore, which Witherspoon supported, while well-intentioned, proved somewhat disingenuous. Yes, a woman’s success at the Oscars is largely measured by what she’s wearing. Yes, a man’s Oscar profile isn’t measured in the same way, and yes, it is blatantly sexist and extremely unfair.

But the red-carpet game, however superficial you might think it is, is played by everyone. The smart cookies wear something that not only indicates where they are now in their career, but where they see themselves in 5 years’ time. The Oscars is basically the world’s glitziest job interview – and there are no exceptions. If you turn up, you’re taking part. Witherspoon, being one of Hollywood’s smartest cookies, understands this concept very well. Her black and white gown by Tom Ford may have looked like a deliberately-subdued choice, but with the expert tailoring from Ford, this gown was undeniably Brand Witherspoon: sophisticated, elegant and always the right side of sexy. Witherspoon never sells herself short; she’s a regular on the Best Dressed lists, but we all know that those fabulous red-carpet choices come packaged with a woman whose intelligence and wit make her no-one’s fool. There’s no need to #askhermore with Reese – she’s already giving you everything she’s got.

While it got a bit political over womenswear, the receding popularity of the classic tuxedo pushed menswear into the spotlight too. Though nominees Ethan Hawke and Michael Keaton went for the black tux (and nothing wrong with that), Benedict Cumberbatch, Jared Leto and Eddie Redmayne all opted for a fresh look at the tuxedo. Cumberbatch channelled honeymoon chic in an impeccably-tailored white jacket while Eddie won the gold in a navy tux from McQueen that worked brilliantly with his colouring. This growing trend to depart from the classic tuxedo is creating a genuine buzz around menswear – there will always be those who just feel more comfortable going classic – but for the boys who like their fashion, this is definitely the time to look around and explore. Expect to see this trend emerge in greater detail in Awards Season 2016.

So with the Oscars comes the end of the Awards Season for this year. It’s always difficult to sum up the ‘theme’ of an Awards Season, as there are so many variables. But 2015, if I had to pin it down, has to be the year where real choice and diversity made itself known. Menswear has gone from classic across the board, to nominees wearing colour and texture with confidence and flair. Womenswear has become more difficult to narrow down into a coherent ‘look’ and while that makes my job harder, this means that stars are now approaching red-carpet dressing with the same individuality they would apply to real life. The sure-fire route to Best Dressed is no longer such a clearly defined path. The sparkles, the dazzle are not always the way to impress: Best Dressed is no longer about being impeccable – it’s about being individual. While we will continue to ask ‘Who are you wearing?’, it’s becoming self-evident that our expectations are changing. We want to see the person behind the label – and gradually, Hollywood is getting the memo.

HELEN TOPE

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

PLAYING BOLD: GOLDEN GLOBES 2015

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

(Kate Hudson wearing Atelier Versace)

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

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

(Diane Kruger wearing Emilia Wickstead)

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

(Amy Adams wearing custom Versace)

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

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

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

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

(Julianne Moore wearing Givenchy Couture)

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

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

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

(Kerry Washington wearing custom Mary Katrantzou)

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

HELEN TOPE

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

 

CREATING MOMENTS: BAFTAS 2014

The BAFTAs are traditionally a space for A-listers to try something a little more off the beaten track. While the British weather may not lend itself as a backdrop to feminine pastels and sugary shades, it is the perfect foil for daring, sophisticated glamour, and at this year’s ceremony, stars were only too ready to embrace their dark side.

Leading the way was ‘Blue Jasmine’ nominee (and award winner), Cate Blanchett in a form-fitting column gown by Alexander McQueen. Expertly tailored in a heavy-duty satin with silver embroidery, this gown was a world away from Blanchett’s blush-pink Givenchy outing at the Screen Actors’ Guild Awards. Beautifully worked make-up and hair kept this look light and elegant, with Blanchett looking every bit the Oscar winner-in-waiting.

It has been a near-perfect run of red carpet wonders for Blanchett, who has consistently wowed with her choices. Always appropriate, but always interesting, Blanchett has kept the fashion pundits on their toes. With the next stop on the red-carpet circuit being the Oscars, Blanchett is on target to make a clean sweep of not only the awards (scooping wins en masse), but making sure that her mark left on this year’s red carpet is indelible.

Black and navy are perennial favourite colours for the BAFTAs, and this year was no exception: both Amy Adams and Uma Thurman skilfully demonstrated why these darker hues can work just as well as bright tones when it comes to getting a fair share of the spotlight.

Amy Adams decided to go home-grown with a design from Victoria Beckham. The sleek design, a high-octane interpretation of the shirt-dress, was another bold choice following on from Adams’ break-out appearance at the Screen Actors’ Guild Awards in an electric-blue gown by Antonio Berardi. After a shaky start on this year’s circuit, Adams has definitely found her fashion footing.

Doing duty as award presenter this year, Uma Thurman made a stunning case for navy. An often-ignored shade, this colour is slowly gaining ground as an A-lister favourite. It has all the figure-flattering benefits of black, but the way it photographs means the added interest of a subtle hint of colour gives navy that extra edge; it is the choice of a confident woman – and on this year’s BAFTA carpet, Uma oozed confidence.

Wearing a figure-hugging Versace gown, accessorised with a show-stopping diamond necklace by Chopard, Thurman very nearly stole the show altogether. This was textbook old-school Hollywood glamour from a star who re-defined red carpet fashion when she arrived at the 1995 Oscars wearing head-to-toe Prada. She was a sensation, and the fashion world has never forgotten what it owes to Thurman. This perfectly-imagined Versace gown is a fitting tribute to what Thurman has done for red-carpet fashion and a reminder from 43-yr-old Uma that the best is yet to come.

However, the biggest monochrome splash of the evening came courtesy of a double-act when Brad Pitt and Angelina Jolie turned up in matching Saint Laurent his-and-hers tuxedos.

With every big idea, the success is in the execution. A great idea can fall at the first hurdle if it is not handled with care and precision. With Saint Laurent expertly tailoring the tuxedo to Jolie’s frame, this was no gimmick: Angelina set the red-carpet alight with her approach to effortless chic. The effect was bold, modern and fresh – a left-field choice perfect for a red-carpet that welcomes daring, game-changer moves.

But if the night had to belong to anyone, it belonged to newcomer Lupita Nyong’o. Lupita’s red-carpet campaign has been a series of triumphs, with Nyong’o delving into a zesty colour palette of primary brights. Her choices from turquoise, tropical Gucci to a Ralph Lauren caped dress in scarlet-red, has made the fashion world sit up and take notice of this 30-year-old actress and film-maker. Lupita’s choices have been not only colourful; they have been spectacular. Not putting a foot wrong, Nyong’o has gone for simple silhouettes in dazzling headliner shades. As a style strategy, it has proved pretty much unbeatable.

Lupita’s appearance at the BAFTAs was another winner, with Nyong’o appearing in a jade-green gown by Dior Couture. A fitted bodice, flaring out into a dramatic, voluminous skirt, accessorised by a gold belt and matching wrist cuffs:  on paper, it sounds like a safe choice. But the choice of jade against Lupita’s skintone and the simplicity of the accessories were inspired, and took this rather simple concept into the high-fashion stratosphere.

The real success of Lupita’s red-carpet run has been her ability to wear big colours and big designers without being overwhelmed by either. Her inner confidence is her secret weapon, and that more than anything has been responsible for her red-carpet success. It’s not what you wear, but how you wear it: I have a feeling that Lupita would thoroughly agree with this sentiment.

In fact, the theme of this year’s BAFTA red carpet was not a colour, or a silhouette, but an attitude. From Cate’s relaxed glamour, to Lupita’s dazzling turn in Dior, every red-carpet success story this year had confidence at its core. Blanchett’s career-best performance in ‘Blue Jasmine’ makes her a cert for Best Actress at this year’s Oscars, and Lupita’s debut in ’12 Years a Slave’ has ensured that a substantial career in film is hers for the taking.

Confidence – well-earned, unapologetic – was everywhere on this red-carpet as women took centre stage. Strong shapes and bold colours were only half the story, with the sartorial highlights revealing a bigger picture of women in film. This year’s BAFTAs were not only honouring individual achievement, but a collective spirit that’s making films that engage and inspire. Complex, challenging roles are no longer just for the boys and the heavyweight performances delivered in ’12 Years a Slave’, ‘Blue Jasmine’ and ‘American Hustle’ acknowledge the contribution made by talents such as Nyong’o, Blanchett, and Adams. This red-carpet wasn’t just about having fun, this was a signal, loud and clear, that the women on the carpet are not only creating moments – they are making waves.

HELEN TOPE

THAT SECOND LOOK: SCREEN ACTORS’ GUILD AWARDS 2014

The Screen Actors’ Guild Awards may lack the headline-grabbing chutzpah of the Golden Globes, but these awards, geared to celebrating acting talent, are uniquely placed in the awards calendar. After the Globes, and well before the BAFTA’s and the Oscars, the SAG’s present the perfect opportunity for a style do-over.

One of the stars wanting to make a favourable second impression was Sandra Bullock. Arriving at the Globes in a multi-tone Prabal Gurung, the avant-garde style did not sit well on Bullock’s vintage glamour persona. Sandra’s brush with cutting-edge fashion was a rare fashion fail: she has always looked best in slim silhouettes, and the statement Prabal Gurung was quite simply a case of too much dress.

The slinky ‘wrap’ gown from Lanvin, however, is an illustration of how to achieve more by doing less. Paired with gold Jimmy Choo sandals, this look couldn’t have been more different to the Prabal Gurung: the simple Parisian glamour was fun, sexy – and very hard not to love.

The second tries kept coming, with Amy Adams turning her back on the 70’s-inspired plunging necklines of ‘American Hustle’, moving onto more architectural fashion. The sculptural shoulder detail of the electric-blue Antonio Berardi gown was a bold choice, but Amy wore it with effortless aplomb, making this one of her most striking red-carpet moments in years.

This was definitely an evening for challenging, left-field fashion. Cate Blanchett replaced Hollywood glamour at the Globes with an ultra-modern halterneck gown by Givenchy for the SAG’s.

In blush pink, the big story of this gown was the sequin-embellished bib detail. This look was definitely not a traditional crowd-pleaser, but something more typical to Blanchett’s love of avant-garde fashion.

Even when reception to her looks has been mixed, Blanchett gives you drama. Blending into the background has never been Cate’s style, but her daredevil approach to red-carpet dressing has always been tempered by a sense of occasion. Cate knows just how far to push; nudging us gently towards her fashion sensibility which has clearly been a labour of love. It is unusual to find a Hollywood star so comfortable in their own skin that they make their rules up as they go along. Blanchett’s ongoing collaboration with Armani Prive in particular has created moments that are beautiful as they are unique.

The Givenchy gown demanded that second look, seducing and intriguing us in turn. Whether you found yourself loving it or hating it, this gown commanded attention, and on the red-carpet, that’s winning half the battle. An undeniably tough wear, this was a look only Blanchett could pull off.

Also flying the flag for avant-garde fashion was ‘Homeland’ star, Claire Danes. Dressed in iconic French label Vionnet, this gown of inlaid shimmering panels of sequins and tulle layers was an automatic standout. The inky, bohemian glamour was the thinking girl’s interpretation of the ubiquitous sequinned gown that can be found at every red-carpet event. It was the Left-Bank cousin to the Dior column gown sported by Jennifer Lawrence, a signature piece from the couture house that typifies classic French glamour. While Lawrence wooed those not bowled over by her Golden Globes look; Danes appealed to those who wanted their red-carpet fashion with a cerebral edge. This was Danes at her best – proud to be different.

Another red-carpet regular who plays the game her way is ‘Mad Men’ star Elisabeth Moss. Wearing a Michael Kors red strapless gown, this was a genius pairing of an all-American designer, with an actor who is anything but apple pie. A neat finishing touch was her lipstick: the shade expertly matched to her dress, taking this look from gorgeous to no-holds-barred glamour. Worn with a fierce intelligence that informs her complex roles, this look was all about what wasn’t being said.

While most played to their strengths, others just went for broke. Julia Roberts’ monochrome tailoring at the Globes fell flat with pundits, leaving Roberts with a point to prove.

Her appearance at the SAG’s could not have been more different, turning up in a bubble-gum pink Valentino jumpsuit. It was a refreshing departure for Roberts; a joyously youthful look that thanks to the Valentino touch, did not want for sophistication. Expertly cut to suit Roberts’ leggy frame, this jumpsuit propelled Julia straight back into the limelight.

 It was an evening for colour: bright, saturated tones dominated the carpet, none more so than the eye-catching aqua-blue gown worn by Lupita Nyong’o. Designed by Gucci, this tropical show-stopper left everyone else out in the cold. The soft, chiffon petals garlanding Lupita’s neck that then fell away into an exquisitely-tailored crepe gown was nothing short of a star turn.

Lupita’s charm offensive on this year’s awards circuit has been both sustained and thorough. From her caped crusading Ralph Lauren at the Globes, to the ivory silk bandeau Calvin Klein gown at the Critics’ Choice Awards, Lupita has not put a foot wrong. For a newcomer, Lupita’s red-carpet style has been remarkable in its confidence.

It is Lupita’s confidence that is, of course, her winning hand. A fearless approach to red-carpet fashion is what designers really want from their celebrity clients: to go boldly, to dare and to risk.

Those who had their fashion ‘do-over’ at the SAG Awards succeeded not because they played it safe, but because they took a risk. An emerald-green wrap dress; an electric blue gown and a pink jumpsuit: none of these are run-of-the-mill choices, but Bullock, Adams and Roberts all redeemed themselves by gambling on their instincts.

Most of all, this carpet paid tribute to glamour that required not blanket praise, but for us to form an opinion. It was an acknowledgement by Hollywood that the best fashion does not conquer, it divides. The stars that soared this time did so because their choices were smart, sophisticated and evolved. Personal style cannot move forward unless you are prepared to move with it – a lesson that does not seem lost on this generation of stars.

The truism that getting it wrong on the red-carpet goes a long way to getting it right is more relevant now than ever before; as we all become more style-savvy, making an impression becomes even more challenging.  This doesn’t mean embracing the shock factor, but being memorable does often mean being out there on your own.

No -one’s style trajectory is perfect and that’s why we continue to watch red-carpet coverage with such anticipation. It is the same question that keeps moving us forward onto bigger, better and brighter horizons. What’s coming next?

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

THE RAINBOW CONNECTION: EMMYS 2012

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

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

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

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

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

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

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

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

HELEN TOPE