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

THAT SECOND LOOK: SCREEN ACTORS’ GUILD AWARDS 2014

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

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

SUGAR AND SPICE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

THE DOMINO EFFECT: SAG AWARDS 2012

Following on from the polarised fashions of the Golden Globes, the SAGs were so strictly organised between black gowns and white, you’d think it was by design. Angelina Jolie, Amber Heard, Emma Stone and Ashlee Simpson were just some of the stars who went back to black, while Lea Michele, Tilda Swinton, Sarah Hyland and Berenice Bejo all went for the lighter option.

While some had old scores to settle after mixed reviews at the Globes, others opted for the element of surprise. No-one could accuse Glee’s Lea Michele of not trying at red-carpet events, but her gunmetal gown from Marchesa worn at the Globes wasn’t the big win Michele had been hoping for. Many cited it as a case of right dress, wrong decade – and bouncing back from that kind of criticism isn’t easy. Michele returned with a light grey chiffon gown from Versace: with a thigh-high slit, this dress was bright, breezy and youthful. Sometimes the best moments come when you just let go – and this Versace gown did all the hard work, leaving Lea to relax and enjoy the evening.

Other young stars explored the more avant-garde side of black. A brilliant colour at supporting bold silhouettes, it’s the perfect anchor for bold designs that would not ordinarily work against a more colourful backdrop. Star on the rise Amber Heard wore a daringly-cut gown from Zac Posen while Emma Stone went for a touch of modern eccentricity in Alexander McQueen.

Far from being prosaic, the decision to go with black or white made for a carpet that felt fresh and modern. Angelina Jolie’s elegant gown from Jenny Packham was entirely unexpected after several appearances exploring the delights of colour. Jolie’s penchant for monochrome has been already exhaustively profiled, but here the colour was softened by the pivotal decision to drape and flatter Jolie’s figure rather than cling to it. If you thought the lure of the goth would be too much for Angelina to resist, this dress was a pure fashion hit, bridging sensuality and romance – and not a frown in sight.

It may well have been the dominant theme of the night, but the domino effect did not rule the red-carpet. Those who broke out from the crowd wore colour: fashion wild-cards Jessica Chastain, Sofia Vergara and Dianna Agron made beautiful choices courtesy of Calvin Klein, Marchesa and Carolina Herrera. Agron, whose fire-red Giles Deacon gown got slightly lost in translation at the Globes, made amends in a fuschia dress from Carolina Herrera. Unashamedly feminine, and gloriously uncomplicated, it was a stunning reversal of sartorial fortune. Chastain, fresh from her Oscar nomination moment whilst at the front row of the Armani Prive show, was still glowing in her light-blue gown from Calvin Klein. There was something definitely in the water when it came to the Oscar nominees: Michelle Williams also went for colour in a lipstick-red gown from Valentino. Cut away on one shoulder to reveal a sheer lace panel, Williams was definitely feeling the spirit of Marilyn in a gown that was unapologetic in its sex appeal.

Sex appeal played well across the board: Modern Family’s Sofia Vergara stuck to her guns in a pink fishtail gown from Marchesa. As someone who knows how to play to her strengths, both on screen and off, this was another home-run for Vergara who ably demonstrates the importance of dressing for the figure you have, rather than the one you want.

What was noticeable on this red-carpet was how many women looked happy and comfortable. In the run-up to the Oscars next month, you could be forgiven for assuming that as the stakes get higher, so does the pressure to go out and impress. But if anyone felt pressured, they certainly didn’t show it. Wearing avant-garde shapes and new colours takes confidence. As if galvanised by the Globes, many stars went not for the safe option, but the choice that moved them forward. Michelle Williams got her sexy on, Amber Heard got herself a whole new style reputation and Lea Michele learned that there is a sartorial freedom in not trying too hard.

The red-carpet, as much as it is a sartorial performance on a grand scale, is also a process of evolution. While some stars progress almost effortlessly to bigger and greater moments, others are quite open about their struggles to find their fashion groove, and some lessons are harder to learn than others: it’s never easy to find out the beautiful dress you thought would be a sure thing was anything but a safe bet. But contrary to popular belief, perfection isn’t what gets you noticed on the red-carpet: progress does. Angelina’s transition from Versace goth to Armani angel has been a long time coming, but her style journey has been fascinating to watch. A generation on, Lea Michele’s rare slip at the Globes doesn’t negate some of her stunning choices in previous years. She can take comfort from the fact that a fall or two does not a disaster make. In fact, it’s the one thing every style icon has in common: a distinct lack of perfection. Playing the fashion game perfectly is boring. Someone who can surprise and delight us – that’s the person who secures our interest.

If the Globes were a turning point for many, the SAGs have proved that progress can be unstoppable as it is beautiful. After this red-carpet, there’s no turning back.

HELEN TOPE