BUDGET BEAUTY BUYS: £25 AND UNDER

I do appreciate that, after the £20 mark, the right to call yourself a budget product is null and void for a lot of people. What I have tried to do here is to find good value for money – skincare and beauty items that give you that little bit extra. There are old favourites here as well as new discoveries.

REN Vita Mineral Omega 3 Optimum Skin Oil – £25 Otherwise known as the product that taught me ‘how to love treatment oils’.
Being the owner of skin that likes to sit somewhere between combination and dehydrated (so convenient), finding a pre-moisturiser treatment isn’t always easy. I don’t know if I’m quite ready for the hard-hitting, anti-ageing serums yet, but my skin definitely needed something extra.
The turning point was coming across Caroline Hirons’ blog (www.carolinehirons.com) A facialist with many years’ experience behind her, her advice is impartial, honest and trustworthy. I read Caroline’s thoughts on the REN Omega 3 Optimum Skin Oil, and decided to try it.
I followed Caroline’s instructions to the letter. Oils are best applied sparingly – a couple of drops per application are more than enough. Loaded with Omegas 3, 6 and 9, this oil is touted by REN as a means of ‘dramatically improving moisture levels’, whilst reducing the signs of premature ageing and sensitivity.
I found this oil to be perfect layered under moisturiser – the feel of the oil is effortlessly lightweight, even on the oilier parts of my skin. After just a few uses, I was hooked. This was the treatment oil for me.
Since then, I have used this before bed, first thing in the morning: this oil slots in effortlessly with other products, and you can rely on it to not block pores or cause sensitivity issues. It has been a brilliant introduction into the world of treatment oils, and a great insight into how just one item of quality skincare can lift your whole routine.
There are plenty of great treatment oils out there (Clarins Blue Orchid, Sisley Black Rose, Antipodes Avocado and Rosehip…I could go on), but the REN Vita Mineral Omega Skin Oil holds a very special place in my heart. I’ve just finished my first bottle (it took AGES to finish) and a second was ready, waiting in the wings. REN has changed my mind about a skincare product I assumed, for years, I couldn’t use, and that in itself is reason enough for it to be included in my Budget Buys. The value it offers is astounding; both in terms of longevity and the skincare experience it gives back to you. This is a forever kind of product – be warned.

Nourish Relax Hydrating Peptide Serum – £20
Packed with hyaluronic acid and soothing, calming plant-derived ingredients (including lavender oil and ginger extract), this serum cools and calms irritated skin. It’s a great choice as a daily pre-moisturiser treatment for sensitive skin, but also works as a stand-by for skin that gets occasional issues with reaction and sensitivity. The serum is delivered in a medium weight gel texture, nice and light for quick application.
I bought this on a whim when I was experiencing a few allergic reactions after changing medications, and found this worked brilliantly at calming and soothing my highly confused skin.
The best part about the Nourish serum is the price – it performs exactly as promised, and does so for £20. A good serum under £30 is near impossible to find (and the really good ones aren’t available for less than £40) – this product defies the odds and I would recommend getting to know this range a little better.

Indeed Labs Eysilix Instant Eye Rescue – £24.99 You may have noticed how few eye creams have been featured in my Budget Buys series. If you’re after more results than a general plumping, hydrating effect – the ingredients list starts increasing, and eye creams tend to start getting expensive. There are some excellent ones around the £60 price mark (Sunday Riley, Elemis, Tata Harper) but if you’re on a budget, little gems can be found in the most surprising places.
Until recently, I had bypassed the corner in my local Boots where Indeed Labs were stocked. It was nothing personal, but I didn’t think the range really had anything to offer me that I wasn’t already getting from other brands.
However, a chance recommendation alerted me to the Indeed Labs eye cream. At just under £25, I was sceptical but gave it a go.
Within a few uses, it was clear I wasn’t using any old budget product. The Eysilix texture (firm but pliable) is identical to creams at double the price. For me, a good eye cream has to have a bit of life in it – there’s nothing worse than dabbing on a watery, non-committal cream. It goes everywhere, creating waste, whereas a firmer cream stays where it’s needed and does the most good.
Long-term, the effect of Eysilix on my skin was one of gentle firming and lifting. My eye area felt supported without that taut, tugging sensation that’s just uncomfortable and slightly strange.
The fine lines around my eyes were also plumped out, the eye area was nicely and evenly hydrated. The Eysilix, in terms of performance, reminded me a lot of the Elemis eye products – good all-rounders that get the job done. The reason Eysilix works so effectively is that it contains many of the same ingredients and properties as the more expensive products – if you’re looking for an introduction to eye care, this is would be pretty much perfect. There are cheaper options out there, but spending a little extra on something that actually works – totally worth it.
http://www.boots.com/en/Indeed-Labs-Eysilix-Instant-Eye-Rescue_1282805/

Bliss Grapefruit & Aloe Body Butter – £22 Good body products are fairly easy to find, but a great one? Going from good to great in body care means you have to offer something quite simply exceptional.
Luckily for us, Bliss does exceptional as a matter of course. Their skincare (especially their Triple Oxygen range) gets a lot of attention, but their body care also deserves to be lauded.
I have been a fan of their Body Butter for years now – the skin-smoothing formula is substantial but never greasy. I have used it in the height of summer and in the depths of winter without any problems – most body care items simply aren’t this versatile. Using a blend of coconut oil and vitamin E to lock in moisture, this nourishing formulation actually works harder on drier patches of skin, gliding over and gently hydrating the areas that need less help.
For those who don’t do fragrance, Bliss has created a ‘naked’ version of their body butter, but if you do love a bit of scent, the aromas are uplifting and invigorating, and refreshingly off the beaten track. From their iconic Lemon and Sage scent, to (my personal favourite) Blood Orange and White Pepper, these really are luxurious products from start to finish. You can get cheaper body products, but Bliss Body Butter is a beauty icon for a reason. It works beautifully every time, and who doesn’t want a bit of reliability in their life?
http://www.blissworld.co.uk/bath-body/shop-by-category/body-moisturisers/bliss-pink-grapefruit-aloe-body-butter/

Lulu’s Time Bomb Complexion Cocktail B12 – £24 I know, I know – celebrity-backed skincare ranges don’t have the best reputation. But forget those dodgy commercials from the Nineties – this is a skincare range with serious clout.
Lulu has taken anti-ageing as the guiding principle of her collection, creating a range that really gets to grips with the issues of moisture loss, lack of firmness and fine lines. This skincare range did serious time in the lab before being launched to the public and it really shows. I had to narrow it down for my Budget Beauty Buys, but you can pretty much delve into the Time Bomb range at random and pick yourself a winner. The excellent Troubleshooter Neck and Jaw Cream, the Flashback Night Cream and Youth Juice Secret Oil are cult favourites, while the newly launched Powerball Moisturiser is winning rave reviews from beauty editors.
But for my Budget Buys, it had to be the Complexion Cocktail. A lotion that slots in after your cleanse and before you apply moisturiser, this is a gorgeous concoction that treats and revives your skin. Packed with hyaluronic acid plus Vitamins C and B12, this treatment lotion can be gently applied with cotton wool and left on the skin to get to work. Don’t be put off by the 100ml bottle – I thought it was tiny when I first bought it. I’ve been using it several times a week for months, and there’s still plenty left. The packaging allows you to decant the product drop by drop – a few drops on a cotton wool pad are ample for one application.
I have really noticed a difference on the days where I don’t use Complexion Cocktail – my skin looks dull, flat and tired. If you do the basics, but want to take your skincare to the next level – this treatment lotion is a great, no-nonsense step that yields real results.
There are other options too, if lack of brightness isn’t your primary skin concern. Complexion Cocktail also comes in two other formulations: H2Omega (suited to dehydrated, dry skin) and Chlorophyll (fighting the signs of ageing and sun damage). Like I said – this is a very different celebrity range.

The Body Shop Drops of Youth Bouncy Sleeping Mask – £22
If you haven’t shopped at The Body Shop for a while, you may be surprised at the £22 price tag, but it’s safe to say that The Body Shop has undergone some changes.
Although I must admit to missing some of their discontinued products (please bring back Dewberry shower gel!), I have liked The Body Shop’s focus on creating high-performance skincare for the high-street. They’ve made some cracking products, from extending the Camomile cleansing range to developing the Nutriganics range into a force to be reckoned with.
The Drops of Youth Sleeping Mask is one of their newest, and most innovative, products to date. As the name suggests, it’s an overnight mask. Containing Edelweiss stem cells, this is a mask designed to smooth and re-hydrate the skin.
A unique, literally ‘bouncy’ texture, this lightweight method of imparting moisture into the skin has been introduced by companies such as Shu Uemura and Oskia. Used most commonly in moisturisers, it’s a perfect way of delivering hydration in high- humidity environments.
The texture of the mask, though, is where it gets really interesting. It will be quite unlike anything you’ve tried before. A cream-gel format, getting it out of the tub will take some getting used to.
Once this bouncy mask comes into contact with body temperature, it softens, becoming beautifully malleable. However, once you’ve got the hang of it, you realise how little you actually need to use in order to see results. The ‘memory foam’ texture is great for gently moulding to your face while you’re asleep – it won’t slide off during the night (tip: give it 5-10 minutes after application before hitting the hay). If you suffer from dry skin, dehydration, or just have been having one too many late nights, this mask will do a great job of hydrating without overloading. The texture of this mask, I will be honest, will be a Marmite issue: you will either come to love it or you won’t. But it’s worth trying because it’s real skincare innovation for just £22.

Liz Earle Skin Repair moisturiser (50ml) – £20.25 One my perennial favourites, while others wax lyrical about Cleanse and Polish (and rightly so), I’m a Skin Repair girl through and through.
Available in three different formulations, to suit every skin type from dry to oily, the Skin Repair moisturiser alters itself to suit you. The different formulations are individual in terms of their weight and texture: the dry/sensitive Skin Repair is dense and buttery (but never greasy); whereas its lightweight companion for oily skin is a fresh, smooth lotion that gives much-needed hydration without clogging pores.
Each type of Skin Repair is a feat of excellence in itself, and testament to the Liz Earle philosophy of paying attention to what your skin needs now, not following beauty trends or chasing the latest ingredients. This range wins award after award because it works by balancing your skin, no matter what its concerns are. It really is a skincare line you can use for life – there’s no optimum age range – I couldn’t pin down who the typical Liz Earle customer is. They are a brand I reach for time and again when my skin is out of sorts. Keeping customers loyal is no easy task, but it’s one that Liz Earle manages with aplomb.
http://uk.lizearle.com/cleanse-tone-moisturise/skin-repair-moisturiser-normal-combination.html

Chanel Rouge Coco Shine hydrating sheer lipstick – £25 If you want make-up and you want it luxurious, you can’t beat a bit of Chanel. Their foundations, bronzers and nail polishes all have the kind of reputation the average marketing budget just can’t touch. A combination of must-have shades and clever formulations have kept Chanel in the game, impressive when you consider how luxury beauty has become increasingly crowded with newer names such as Charlotte Tilbury and Tom Ford.
Recreating Chanel’s allure would be almost impossible for a new beauty brand – a lot of the brand’s magic is in its history. But while Chanel’s heritage does a lot of the work, the brand keeps fresh with new products. One of my favourite launches in recent years has to be their Rouge Coco Shine hydrating sheer lipstick.
Say ‘sheer lipstick’ and your first impressions can vary wildly. From gorgeous, easy-to-wear tints to pigment-starved, washed-out shades, my experience of sheer lipstick has been varied. Getting it right means getting the balance between colour pay-off and wearability: you should be able to apply a sheer lipstick in the dark. In a moving car. That has a dodgy suspension.
I’m pleased to say that Chanel passes the dodgy suspension test every time (now there’s a review!) – the texture of the lipstick is lightly creamy. Not so much so that it slides about, or melts into a big gooey mess, but there’s enough slip to make confident, no-mirror application a cinch, rather than a gamble.
The colour pay-off is excellent – each shade is clearly defined: reds are soft and dewy; pinks are rich and rosy. Designed to give you up to 8 hours of hydration, this hybrid of balm and lipstick leaves a gorgeous, gentle shine. My particular favourite is ‘Boy’ – named after Coco Chanel’s lover and muse, Arthur ‘Boy’ Capel. With each shade in this range taking inspiration from Coco’s formative years, this is a beautifully designed corner of the Chanel beauty experience, with history and innovation coming together.
http://www.chanel.com/en_SG/fragrance-beauty/Makeup—Lipsticks—ROUGE-COCO-SHINE-118787?sku=118796

Ole Henriksen Walnut Complexion Scrub – £26 I’m allowing myself one cheat – and the deceptively simple walnut face scrub from Ole Henriksen earns your extra £1. Using very finely milled walnut powder, this densely-textured scrub glides around the skin with ease, leaving you with a softly glowing complexion. Some scrubs play too rough, but the consistency of the Ole Henriksen is perfectly judged. I wouldn’t recommend a granular scrub for very acne-prone skin, but for everyone else (especially if you’re experiencing dull, sluggish skin), this is the ideal boost to get your skin feeling and looking younger.
http://www.feelunique.com/p/Ole_Henriksen_Walnut_Complexion_Scrub_50g

Dior Diorshow Backstage Mascara – £24.50 This is the beauty equivalent of my very own Proustian madeleine. The taste of the sweet pastry prompted Marcel Proust to recall his childhood and begin writing an almost endless series of novels. While Proust’s memory jog was thanks to a simple childhood treat –for me, it’s Dior mascara.
My first ever experience of luxury cosmetics happened when I was around 10. My mum loved (and still does) Dior’s Poison perfume. A staple of the Eighties, my mum once bought this scent at a beauty counter when they were doing a free gift with purchase. The gift? A very handsome Dior eyeshadow compact set and mascara. My mum’s not that keen on make-up, but I begged her to take the free gift.
We got the eyeshadow and mascara set home and I opened them with all the reverence you would give a priceless artefact. Imprinted with the Dior logo, I can still remember the eyeshadows: four in all –one a burnished gold, a deep purple, an emerald green and a shimmering black.
The eyeshadows themselves I remember being very velvety to the touch – but the colours were clearly designed to suit a woman in her 40’s who needed a make-up look to match her Armani suit and brick-like mobile phone. I was 10 years old with a pudding bowl haircut. The early experiments I instigated were largely unsuccessful.
But the mascara: it was a small size but generous. I applied it to my lashes and the effect was extraordinary. I do have naturally curly lashes but the Dior mascara made them spring to life. Looking back, I think the formulation must have been volumising, as I remember it separated my lashes brilliantly, without overloading them and causing the spider effect.
I was hooked after the first use, and practised my make-up skills using this set. I learned that less is definitely more, and barring a highly unfortunate incident with self-tan, I emerged from my teenage years largely unscathed by make-up horrors. Dior continues to hold a special place in my heart – then, as now, it stood for Parisian glamour and sophistication that may have seemed out of reach to a chubby little schoolgirl, but the fact it was a glamour I could apply to my own face made me feel included. Like Proust’s madeleine, Dior calls me back – and it’s a happy, familiar place.
http://www.boots.com/en/DIOR-DIORSHOW-Backstage-Mascara_12964/

HELEN TOPE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

METAL WORKS: MET GALA 2012

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

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