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

SIMPLICITY ITSELF: OSCARS 2012

When it comes to awards ceremonies, not all red-carpets are created equal. Now in its 84^th year, the Academy Awards is, and remains, the benchmark by which all other events are measured.

With the knowledge that the world is watching, the pressure to get it right can be immense. Some stars avoid the glare of the fashion spotlight by playing it safe; others replay their best fashion hand with looks seen before. But those who make the headlines (in a good way), balance a little risk against a fail-safe marker – and that can be anything from a colour to a favourite silhouette. This is the strategy we saw in abundance at this year’s Oscars: a touch of the familiar, with a flash of unexpected genius, made for a very stylish carpet.

With a stunning appearance at the Golden Globes already under her belt, you would think that Angelina Jolie would have nothing left to prove. But you would be wrong. Jolie showed up in a black velvet gown from Atelier Versace, slit to the thigh with pleated panels on the bodice. It was a masterwork of seduction; no-one in Hollywood does smart / sexy quite like Angelina. Her winning formula of reveal and conceal makes her not only one of the Best Dressed of the night, but downright intriguing. Channelling old-school glamour with a twist of modernity, this was Jolie’s best look of the season.

Intelligent choices were all over this red-carpet, with Gwyneth Paltrow stunning everyone in a stark, white gown and cape from Tom Ford. In theory, this could have gone horribly wrong, but Ford’s gift for precision and restraint made this outfit a beautiful example of postmodern glamour. As already demonstrated by Rooney Mara and Tilda Swinton, there is an appetite for gowns off the beaten track: spare, elegant forms without a flounce in sight. This modern way of approaching red-carpet dressing looks set to become the rule rather than the exception: ruffles and bows for night-time don’t sit quite right at the moment. Indulging your inner girl feels more appropriate to daytime with Louis Vuitton and Prada giving us plenty of ideas on how to do pretty.

In terms of eveningwear, bold, sleek shapes channel a political consciousness that’s purely interested in showing up, not showing off. Gwyneth, picked by many as the evening’s Best Dressed, had clued up on the style zeitgeist: her choice was undeniably beautiful but its simplicity left Paltrow looking calm, relaxed and approachable. This style code feels like a better fit on Gwyneth, who in the early part of her career struggled to find her groove. But this stab at sartorial greatness turns Gwyneth into a very modern style icon: cool, confident and above all, contemporary.

Very few people did sequins for the Oscars, but those that did, applied them with wit and verve. Rose Byrne’s midnight-blue gown from Vivienne Westwood made her one of the red-carpet stand outs. Epic detail was reined in by a sleek, one-shoulder design and a touch of Westwood tailoring. This many sequins should cause the dress to droop, but it stood firm thanks to a corsetry that kept the shape of the dress intact. It was a comforting hit of sparkle (for those who feel a red-carpet isn’t the same without it), and Rose’s profile soared in what was a very modern re-working of a red-carpet classic.

Jessica Chastain, nominated for her role in ‘The Help’, also took her brand to the next level in a career-making turn wearing custom-made McQueen. A black strapless gown overlaid with intricate gold embroidery saw Jessica; in sartorial terms at least, go toe-to-toe with Angelina and Gwyneth. Paired with beautifully-judged make-up and tousled hair, this was a look belonging to someone who is destined to become an even bigger star. Someone with this much confidence at this stage in their career cannot help but excel – Jessica is one to watch.

Some of those attending did opt for colour in what has been a curiously monochromatic awards season: Natalie Portman in vintage Dior, Emma Stone in Giambattista Valli and Michelle Williams in Louis Vuitton – all three went for shades of red.

Williams’ gown in particular divided the critics: a strapless gown with soft, horizontal ruffles and a peplum detail at the waist was a winning choice but possibly not on Williams. Like Paltrow, Williams is most in her comfort zone when she goes simple. Some of her best red-carpet moments have been in dresses of deceptive simplicity.

Others attending chose to tread a well-beaten path. Meryl Streep chose the good-luck charm of previous Oscar winners and went for gold in eco-Lanvin. Like Sandra Bullock (Marchesa, 2010) and Charlize Theron (Gucci, 2004), Streep got her award dressed head-to-toe in gold.

Livia Firth’s good work at the BAFTAs in encouraging A-listers to participate in the Green Carpet Challenge was confirmed in earnest at the Oscars. French fashion-house Lanvin used eco-certified fabrics to dress the Iron Lady. Stepping up to collect the third Oscar of her career, Meryl looked softly glamorous. It was a truly Oscar-worthy choice.

If there was anything to take away from this awards season, it was a renewed appreciation of the simple things. A good cut, a plain colour won out time and again over flashier designs. It may be something to do with the types of films making it big this year: the grand-ambition projects or the small art house films that end up stealing your heart. But whatever is causing it, there’s a real call to arms to those who want real, honest-to-goodness sophistication.

Whether you like your red-carpet to shine, or be beautiful in a more subtle way, what’s very clear is that modern glamour – in all its grown-up glory – is here to stay.

HELEN TOPE