THE RAINBOW CONNECTION: EMMYS 2012

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

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

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

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

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

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

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

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

HELEN TOPE

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