CHINA THROUGH THE LOOKING GLASS: MET GALA 2015

Every year, I write a review about the Met Gala. Held as a fundraiser for the Museum of Metropolitan Art’s Costume Institute, each year, a new fashion exhibition is launched, and the fundraising Gala takes its theme from that exhibit.
This year’s exhibit – and theme – was ‘China: Through the Looking Glass’. A country with a strong, visual-cultural identity, China holds a unique place in fashion history. Exploring “the impact of Chinese aesthetics on Western fashion”, the exhibition (open from 7 May) features archive pieces from designers including Tom Ford and Roberto Cavalli.
The yearly Gala theme is where the rule-making begins and ends. It is intended as a challenge to both designers and the stars they are dressing. This Gala is no ordinary red-carpet, but fashion at its most daring. It is a chance to let loose, to show real creativity. To do the Gala properly requires putting your ego to one side and taking a risk.

Like the notoriously-tricky Punk theme from the 2013 Met Gala, ‘China: Through the Looking Glass’ is an idea crowded with possibility as it is beset by hazard. You can go literal, bold, dramatic – or refined, subtle, applied with the lightest touch. I firmly believe that, with such a dynamic theme, either approach is valid. The iconography of China is so visually immediate; we know the shapes, the fabric and the detail. We’re familiar with the nuts and bolts – the question for the Gala’s attendees was how far they would go in exploring the drama, opulence and tradition.
Many chose to tread softly with a diluted interpretation including Kendall Jenner’s beaded sheath gown from Calvin Klein and Anne Hathaway’s exquisitely simple gold hooded gown by Ralph Lauren. What was interesting about this year’s theme was that you could split, fairly evenly down the middle, those who approached with caution the idea of China as a fashion influence, and those who went for broke.

The big, bold statements are what the Met Gala is made of – but this year, the theme of ‘China: Through the Looking Glass’ led many to question where the line between homage and cliché gets drawn. No-one is pretending that the Met Gala is the place you go to for a considered take on authentic, traditional dress – but with the Gala’s reputation for daring, it had to be asked: how far is too far? Should a theme be taken to its most extreme interpretation, or should some restraint be applied?
Twitter buzzed with these questions as photos from the Gala flooded social media. Some commentators went as far as to dub the theme ‘racist’, others pointed out that the looks owed more to China’s fashion history than its future.

Despite the misgivings, there were definitely highlights to be found. Those who approached the theme with confidence made the biggest impact. Actress and fashion IT girl Fan Bingbing wore a copper, sequinned gown with an incredible decorated cape by Beijing-based designer Christopher Bu. This was a simply gorgeous collaboration; the streamlined silhouettes underscored by the fabulously ornate beadwork. The approach of combining pared-back shapes with sensational, bold decoration worked for many.

Making a supermodel look good is not exactly fashion’s most onerous task, but Atelier Versace managed the double with both Karlie Kloss and Rosie Huntington-Whiteley wearing the label. Sleek, modern design with hits of opulence took the Gala’s theme to the next level. With China producing the next wave of super-rich consumers, translating China’s history into something more contemporary was a stroke of genius for labels such as Versace, who are actively wooing this eager-to-spend customer base.

These statement looks, however, were in a minority. This year’s theme cried out for bold, expressive interpretation. What we got instead was a lack of innovation. Rihanna’s cape by Guo Pei was one of the exceptions, with its couture-like-grandeur stealing the headlines. The cape took two years to make, and while it wasn’t to everyone’s taste, Rihanna once again proved that when it comes to fashion, she has no fear.

If everyone had adopted Rihanna’s gusty approach to red-carpet dressing, the night would have been very different. Timidity made for a very muddled sartorial message, and ended up with attendees going down tried-and-tested routes: it’s no mistake that both Jennifer Lopez and Beyonce went with skin-baring beaded gowns. It may well be true that there is nothing truly new under the sun, but this year’s Met Gala cried out for a fresh approach.
As for the accusation of racism, those who took offence at the Gala’s theme were considering the night from the wrong angle. For a night called ‘China: Through the Looking Glass’, the fact was that most of the designers worn were from Europe and America. If Twitter needed to get worked up about an issue, this was it. ‘China: Through the Looking Glass’ should have been the perfect vehicle to showcase up and coming Chinese design talent. Only a few attendees chose to do this; everyone else went with the familiar – both in terms of the dress being photographed, and the designer label on their back.

If the Met Gala should stand for anything, it needs to get braver about exploring new ideas from new voices. A fashion industry that does not evolve stagnates – and that was the feeling of this year’s Met: nothing felt new or vibrant. We had, quite literally, seen it all before.

Every year I write a review about the Met Gala, but this is the first year where the celebration of fashion has taken a back seat. A bold statement worn with conviction can never truly be wrong, and it was sad to see people blatantly ignoring their own instincts and going with what they thought would meet approval. The fear of offending, of getting it wrong, has ironically ended up with the Met Gala doing just that. Instead of the same names, the same style signatures, how about next year celebrating fashion’s future instead? There’s some incredible talent out there, and what better platform could there be for making it visible? If the Met Gala wants to keep its reputation for fashion daring –it’s high time it earned it.

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

BEAUTY, EVERYDAY: OSCAR DE LA RENTA (1932-2014)

Born to a wealthy family in the Dominican Republic, Oscar de la Renta began his fashion career as an apprentice to Cristobal Balenciaga. Drafting sketches to send to Cristobal’s clients, de la Renta showed promise quickly, and his cutting and draping skills saw him move to Paris to work for Lanvin and Balmain.
Starting at the epicentre of 1950’s couture, de la Renta was well placed to become his own man, as the taste for fine fashion grew. Launching his own ready-to-wear line in 1965, the de la Renta label adorned the backs of New York socialites. The designer’s reputation for creating wearable, beautiful pieces made him a firm favourite, and his reputation took him all the way to the White House, where he ended up dressing four First Ladies, including Nancy Reagan, Michelle Obama and Hillary Clinton. De La Renta’s elegant lines and flattering colours took Clinton’s style to the next level and Hilary’s transformation was perfectly judged – femininity without the fuss.

It was de la Renta’s understanding of what women want that kept him at the forefront of New York fashion. His beautifully-crafted evening gowns were show-stoppers, and his decision to stay with classic silhouettes and colour combinations became his signature – and his loyal clients couldn’t get enough.
In 1989, he received the lifetime achievement award from the Council of Fashion Designers of America – an award that with the full benefit of hindsight seems remarkably premature. Over the next 25 years, de la Renta stayed relevant not by jumping from trend to trend, but by offering covetable, stylish collections, year in, year out.
If Oscar’s story ended here, it would still be a terrific read. But in the third act of his career, de la Renta’s look travelled from New York to Los Angeles. His gorgeous gowns began catching the eye of Hollywood stylists – his style philosophy perfectly dovetailed with what they were looking for. Beautiful, uncomplicated glamour that would translate across the board: Oscar de La Renta met all these requirements and he found himself at another epicentre – this time it was the red-carpet.

Oscar’s gowns were not just adorning the pages of American Vogue, but now were being seen on the most famous women in the world. Cameron Diaz, Penelope Cruz, Sarah Jessica Parker and most recently, the newly-married Amal Alamuddin all had glorious moments wearing his designs. The widely-circulated photo of Oscar in his studio with Amal is truly poignant: one of his most public triumphs was to be his last.

While de la Renta’s gowns may not have broken new sartorial ground, Oscar’s ability to create designs that complemented but never overwhelmed, cast both the gown and its wearer in the best possible light.

This was the key to understanding Oscar’s work – it was quite literally fashion without the fear. In his collections, summer dresses adorned with floral prints and beautifully cut trouser suits were the mainstays: exquisitely made, exquisitely expensive but oh-so-easy to imagine yourself wearing. Oscar de la Renta believed in beautiful clothes for every day of a woman’s life. His label didn’t need a star piece to carry it through the season; the piece you reached for time and again was what de la Renta did best. He saw the beauty in the everyday – glamour was not just reserved for life’s big moments.

Oscar’s message to fashion, and to us all, was to celebrate simplicity. He didn’t need big, game-changing ideas: Oscar’s genius was in getting us to re-appraise the familiar, and appreciate what was already in front of us. Along with his peer Valentino Garavani, Oscar de la Renta’s career is testament to the fact that a simple idea needn’t lack sophistication.
His reputation as an American Master puts him at the crossroads of fashion history. The apprentice to Cristobal Balenciaga grew up to become the toast of contemporary Hollywood, all the while staying true to his notion of elegance, grace and femininity. In an industry where creating waves can turn into serious profit, de la Renta’s commitment is all the more impressive for its staying power.
Fashion has often been criticised for being too knowing, too oblique. The retort to every criticism of this kind is Oscar. He refused to be cynical – every collection was a burst of colour and charm, filled with optimism for the future. Always looking forwards, he offered us a vision in technicolour. Oscar de la Renta was, and remains, fashion’s most perennial and joyous voice.

HELEN TOPE

IN BLOOM: GOLDEN GLOBES 2014

While the Golden Globes have a reputation within the industry as being one of the more relaxed ceremonies, when it comes to the red-carpet, there is everything to play for. As the first big awards show of the season, the Globes provide an opportunity to start off your style campaign with a bang. After returning to the awards circuit after several years away, expectations could not have been any higher for Best Actress winner, Cate Blanchett.

Coming back with a powerhouse performance in ‘Blue Jasmine’, Blanchett created a major stir in Armani Prive.

This lace gown took a high neckline and scooped back as its grace notes; the exquisitely-handled lace sat proud as if moulded to the body. This dress was tailor-made for the scrutiny of a red-carpet, giving us something from every angle. It was not only a perfect performance by Blanchett, but it was a tutoring by Armani in how to create a moment.

To be dramatic without being garish is a feat best performed by experts and Armani’s gown for Blanchett was effortless in its beauty. No fuss, just top-drawer craftsmanship, all done without compromising a star’s modesty. This gown veiled and bared in equal measure and the effect was pure theatre.

Blanchett’s choice, kicking off the 2014 circuit, took the lace gown – something so familiar – to a whole new level of elegance and sophistication. It was an unexpected choice, making Blanchett a standout on a carpet that boasted plenty of highlights.

It was a night to celebrate female talents at the top of their game, both in terms of career and style. Helen Mirren made a lasting impression in an exuberantly colourful gown by Jenny Packham, and Taylor Swift also got the colour memo, wearing a two-tone gown by Carolina Herrera.

Presenter Amy Poehler also impressed with a sleek, column dress from Stella McCartney. These choices, while undeniably diverse, all had one thing in common: they perfectly illustrated where each woman was in her career. The coming-of-age charm of Swift’s gown was just as powerful a statement as Poehler’s dress that exuded a quiet confidence.

Another key trend of the evening had to be pregnancy chic, with Kerry Washington, Olivia Wilde and Drew Barrymore all turning up with a very special plus-one.

Each gown was a custom-made creation, with designers working with the stars to create a unique design that demonstrated that personal style doesn’t have to be put on hold during pregnancy. Washington kept to her love of high-fashion in an apple-white Balenciaga gown; Olivia Wilde applied her signature glamour in a tight, beaded Gucci. But the sweetest look belonged to Drew Barrymore, whose flower-strewn Monique Lhuillier gown was ultra-feminine but stayed true to Barrymore’s boho style. It was a stroke of genius, making Barrymore one of the night’s Best Dressed.

However, it was left up to new faces on this year’s carpet to provide some of the biggest ‘wow’ moments of the night. ‘Wolf of Wall Street’ star Margot Robbie made her debut in a white Gucci gown that was studded with green crystals. The look was kept modern with a sleek, minimal cut – perfectly matched by hair and make-up. This was Robbie’s chance to make Hollywood sit up and take note – and it wasn’t an opportunity lost.

Keeping it simple is always a good tip for newbies, and no-one took this more to heart than ’12 Years a Slave’ nominee, Lupita Nyong’o. Wearing a scarlet dress by Ralph Lauren, Lupita handled the red-carpet with ease and aplomb.

This caped wonder would be a bold choice for anyone – ironically, the one colour guaranteed to make you stand out on a red-carpet is red – but an astonishingly-assured debut for a newcomer. Lupita played it cool in front of the cameras, impressing across the board. This was red-carpet style with class. This Ralph Lauren gown is so striking it can only be worn any degree of success as if it were a treasured pair of battered jeans, and Nyong’o wore this show-stopping number as if it was something she wore every day. Lupita’s coolness under sartorial pressure was the lasting impression every new face wants to make.

What also piqued interest on this year’s carpet was the sight of stars not only upping their fashion game, but attempting to take their personal style to the next level.

‘Modern Family’s Sofia Vergara is a perfect case in point of not changing something that isn’t broken. Her reputation for glamming up the carpet with slinky, mermaid-tail gowns is well-founded. No-one does sex-appeal quite like Vergara.

This year, Sofia did a 180 and arrived in a romantic ball-gown from Zac Posen, accessorised by a bold turquoise collar from Lorraine Schwartz. The look divided as many as it won over; those who wanted Vixen Vergara were left disappointed. But the famous curves were still in evidence, but more alluded to this time around. It was a bold move for a star whose red carpet style is so recognisable it has become her trademark. Next year may well see Sofia returning to her fashion comfort zone, but this year can be enjoyed as an elegant (if solitary) departure.

Another surprise came from ‘Veep’ nominee Julia Louis-Dreyfus. A red-carpet regular, Julia wins plaudits for her figure-hugging metallic gowns. Keeping the same silhouette, Louis-Dreyfus went all out this year in a bright, zingy coral that just invited us to delve into the new season, head-first. It was a smart colour choice, leaving Julia looking youthful, fresh and current.

A red-carpet full of surprises is always one to remember, but the overall feeling of optimism and joie de vivre was hard to miss. Nothing felt cynical or calculated, the trends were there, but applied with subtlety and grace.

Across the board, this year’s choices were guided by love; whether that meant embracing novelty, expressing a genuine love for fashion, or looking to the future. This was a carpet in bloom, full of life and just getting started.

HELEN TOPE

THE ELEMENT OF SURPRISE: EMMYS 2013

When dissecting red-carpet fashion, events can usually be split into one of two groups: there are the nights that meet our style expectations, with stars slotting comfortably into the trends of the moment, and then there are those nights that just keep us guessing from start to finish; nights that defy all category. This year’s Emmys easily fell into the latter, with stars subverting our expectations at every turn.

With the latest looks from Fashion Week heralding a return to girlish pastels and sugary shades, these left-field choices disarmed the pundits, but in the best possible way. Statements were to be found everywhere on this red carpet; whether it was in the delicate textured detail on Kerry Washington’s Marchesa gown, or the bold, take-me-or-leave-me approach by Allison Williams in bright, bold Ralph Lauren.

Furthermore, everyone seemed to choose a look that made a statement about them. Michelle Dockery’s love of high fashion found its place in tri-colour Prada; Zooey Deschanel made the perfect choice by opting for an ice-blue J. Mendel dress that matched her eyes, combined with retro styling that was quintessential Zooey.

Those who enjoyed upping the vamp stakes didn’t disappoint either: Modern Family’s Sofia Vergara and The Big Bang Theory’s Kaley Cuoco wowed in figure-hugging gowns that made the waist the new focus of attention – another notable surprise.

But the big story of the night was the return of blush and nude as a style centrepiece. Worn in the right complexion-friendly shade, these neutrals are more than capable of equalling the impact of brighter hues.

Here, pale gowns took two forms: ethereal and powerhouse. January Jones, Claire Danes and Kerry Washington opted for delicate gowns in light-as-air fabrics. What made this look different for 2013 was the addition of texture and detail, giving the gowns interest and dimension – not a bad attribute considering how much these dresses get photographed.

Washington’s gown in particular was a masterclass in appliqué and embroidery; Claire Danes’ Armani Prive gown had that familiar dazzle we expect from the Italian designer, but the detail was loaded on without losing that ethereal effect. It was an impressive balancing act of sparkle and light.

But if you like your neutrals with a healthy dose of attitude, Julianna Marguiles and Veep’s Julia-Louis Dreyfus gave you exactly that. Dreyfus’ Monique Lhuillier gown could only be described as a powerhouse neutral: this wasn’t a dress about to fade into the background. Simply styled, and effortlessly worn, Julia-Louis Dreyfus managed to power her way to the top of everyone’s Best Dressed list.

Julianna Marguiles also went for the fashion jugular in a monochrome column dress by Reed Krakoff. An impressive red-carpet debut for the American label, this outing was elegant and self-assured. It was another well-rounded performance from The Good Wife nominee who wears high fashion with ease and aplomb.

Apart from Sofia Vergara (who single-handedly continues to crowd-please with her joyfully va-va-voom approach to the red-carpet), everyone came to the Emmys prepared to try something a little different. Scandal’s Kerry Washington, more usually seen in the very highest of high-fashion, meant that the almost bridal quality of her Marchesa gown represented a style 180. It was proof, if you needed it, that Washington remains one to watch.

Seduction came in different guises this year, with Tina Fey opting for bright-blue over her usually favoured blacks and reds, making the classic choice of a halterneck gown look quirky, fresh and young. Rose Byrne made a two-piece Calvin Klein a sensation; in a month of celebrity overexposure, this was a refreshing take on how to bare skin – without baring your soul.

This was an evening filled with surprises, with outsider nominees taking home the biggest prizes. But the biggest shocks had already been felt on the red carpet. Those who went against the grain – even their own style MO – wowed consistently and thoroughly. It reminded us of stars’ ability to surprise us, and in a career that must thrive on invention as a necessity, keeping them guessing is a strategy tailor-made for Hollywood survival.

Those who went big with their statements quite simply made the biggest splash. Heidi Klum’s space-age Versace gown may not have been to everyone’s taste, but Klum made headlines and when it comes to fashion, those column inches are what really counts. This year’s Emmys were a bold testament to not playing it safe – and even better – going with a personal choice rather than a catwalk-dictated trend. There were few definable trends out there, but it didn’t matter: high fashion only works if it isn’t worn as a compromise. Those who went with the bold, couture statements looked calm, comfortable and completely in charge. No-one looked overwhelmed, and that’s why everyone looked so good.

It was fashion without the fear, and that about sums up this year’s Emmys: unexpected and unfamiliar – and utterly gorgeous.

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