Some things never change, and that’s a good thing: Hollywood stars still look best when they dress like Hollywood stars; black is safe because it’s always right (unless you’re Sharon Stone); great jewelry saves any look. And a couple...
Some things never change, and that’s a good thing: Hollywood stars still look best when they dress like Hollywood stars; black is safe because it’s always right (unless you’re Sharon Stone); great jewelry saves any look. And a couple of great disasters make the Golden Globes even more fun than they already are.
On its 60th anniversary, the Hollywood Foreign Press Association’s annual love-fest has only improved with age.
After a year of somber, post-9/11 red-carpet dressing, rainbow hues taken from the spring runways looked new. Parker Posey had chosen her canary yellow Gucci only hours before. Halle Berry glowed in her pale blue taffeta Reem Acra. Nicole Kidman once again stuck with pastel, this time a lilac flamenco-inspired Tom Ford for YSL.
The most striking? The kaleidoscope of colors braved by Kate Hudson and Cate Blanchett, both in printed Valentinos. "I wanted to look a bit more loungey this year," said Blanchett of her beaded sheath. Rachel Griffiths, on the other hand, showed up corseted to within an inch of her life wearing a ruby-red dress by Elie Saab. "Well, as they always say, it’s not an awards show if you can breathe."
The major narrative may have been color — but the subplot was black.
"My dress was a chassis that they literally had to build on me," said Diane Lane of her sculpted black Donna Karan. Renée Zellweger in vintage Valentino and Jennifer Garner in new Ralph Lauren boasted V-necks so deep they seemed to defy gravity. Uma Thurman’s "stretchy" Dior fit so snugly it all but diminished her ample bosoms, while Jamie Lee Curtis proved real women have curves in her Junya Watanabe. Even Cameron Diaz finally managed to look put-together with sleek hair and a neat black Chanel mini dress.
Then there was Sarah Jessica Parker, ever the maverick, who wore a satin Hedi Slimane corset and pants that showed off her slim-again shape. "I’ve done all the other looks," she said, "so I wanted something different. But I balanced it out with Belle du Jour hair."
A few went the opposite direction in bright white. Debra Messing showed up in a chiffon Vera Wang that she said made her feel "ethereal;" and Maggie Gyllenhaal looked fresh and lovely in Chanel couture. "When I was 13 I had this idea of what I wanted to wear to the Globes someday, but that all changed. Instead of Thirties, I went Eighties with a little punk."
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast