by Have Hollywood strikes achieved the impossible and have we fallen back in love with award ceremonies?
Obviously not. It’s the accompanying peacocking that makes the story bearable.
Not that the red carpet carnival has been made to look edifying in recent years. Too beige (the Oscars), too commercial (Cannes), too silly (the Met Ball, which doesn’t even have awards but manages to be the cringe fest to end all), there’s a big decline has come on red carpet dressing for years.
And yet I really enjoyed the outfits at the Golden Globes 2024. Judging by my colleague Ed Power’s scathing review of the ceremony itself, the organizers could save themselves a lot of money to hire their script writers pay better by extending the frocks and tux footage and cutting the bit where they all give each other gongs and cries.
You could tell this red carpet was shaping up to be a stellar sartorial display when early arrival Gillian Anderson turned up in a flawless ivory strapless gown by Gabriela Hearst. On the red carpet the wannabes and hangers-on are usually in various permutations of Midwestern shopping mall glamour.
Her pail-de-milk bag was a bit odd, but the corset floor number was so peak Grace Kelly no one could miss the reference (even if it was also embroidered with subtle vaginas in homage to Sex Education, the show she was nominated for). Maybe Anderson’s absentee partner Peter Morgan will take the hint and spin her a Monaco-centric script.
Brie Larson, star of Lessons in Chemistryminiseries based on the acclaimed Bonnie Garmus novel about a female scientist from the 1950s, created by Kelly (as well as her character from Lessons) in ballerina-length lilac Duchess satin from Prada and waved hair that deserves its own nod for the best follicular role.
Ballerinas were all the rage at the 81st Globes – a trend that, if it continued on other red carpets, would inevitably have an impact on wedding dresses, which are civilians’ biggest chance to sprinkle some stardust on their fashion.
Cailee Spaeny, star of Sofia Coppola’s new biopic about Priscilla Presley, in a sprig-print Miu-Miu dress with a full skirt; Elle Fanning in a cream, bow-trimmed dress; Reese Witherspoon in blush pink and black; and Ayo Edebiri (from the hit show The bear) in a stunning red duchesse satin column from Prada – all chose to incorporate ballerina length as well as corsets into their strapless dresses.
Margot Robbie continued her mission to outdo her Barbie alter ego in fuchsia Armani Privé sequins (also strapless) and $3 million worth of gems. She is so beautiful that she can get away with the visual blush, but it would be a great change to see her in something really chic.
Carey Mulligan did one of the characters she played last year as well. Felicia Montealegre Bernstein, who portrays Mulligan i Maestrowas 27 and on the upswing of her Broadway career in 1949, the year Schiaparelli’s teenage, monochrome, fan-tail dress was made for Mulligan.
He looked great on her (she’s also great in the movie), but she was so closely sculpted that she might not have had much fun in it. In contrast, Florence Pugh, ideally cast as Valentino’s ambassador (Pierpaolo Piccioli, the creative director there, really knows how to dress her for both her body and her personality), seems completely at ease. in the red chiffon with big straps.
Speaking effortlessly, Julianne Moore was in a scarlet, floor-sweeping dress with perfect pockets. She often wears black (Hollywood actresses do this a lot to highlight their hard work), but crimson made her radiant. Designed by Matthieu Blazy of Bottega Veneta, an Italian label whose catwalk clothing excites the fashion crowd but barely registers beyond, it had pockets, the quintessential mark of a modern suit, giving it a modern air. calm him. Bottega is a red carpet player from now on. Stay tuned for much more red on the high street.
For savvy brands and stars, red carpet choices can redefine, challenge or confirm public preconceptions. Playing a quirky accessory, Rosamund Pike continues to establish herself as a talented character actress who happens to have classic Hollywood beauty. Not everyone loved the black Philip Treacy helmet-cum-veil she wore with her Dior couture lace dress, but most enjoyed the risk.
Greta Lee, from Apple TV+ The Morning Show and the star of Past Lives, wearing an interesting but always elegant outfit. Her billow sweater, cream racer-back Loewe dress requires a serious attitude to work. She has oodles and he did.
Honorable mentions to the men: actor and director John Krasinski, who pulled off the red and the burglary by playing everything else pretty straight, and Andrew Scott, mostly for being Andrew Scott, but also for one of modeling the big trends of the night, head to head. -white toe.
Applause to those who suck themselves into sheer, or semi-selfish, lingerie corsets: Ted Lasso‘s Hannah Waddingham in Suzanne Neville and Emily Blunt in the final look from Sarah Burton’s last show for Alexander McQueen in September last year. They looked great and 100 percent committed to doing that act. Thankfully the rest of us don’t have to.
And finally, Meryl Streep in one of my favorite looks of the night. It’s not a phrase that’s often typed, but Streep’s tailored shimmery tail skirt outfit (Piccioli at Valentino) is testament to the youthful alchemy that happens when Streep has the right designer/stylist (Piccioli at Valentino again) (Piccioli at Valentino) meets the right actor. We don’t intend to buy any more sequins, but then there will probably be truckloads in the shops – which is bad for the planet.
Note to self: wear more tinted specs and vintage sparkle.
