This year’s Globes saw its usual share of over-the-top jewelry and makeup looks.
Long known as the less-buttoned-up cousin of the Oscars, it’s no surprise that the Golden Globes remain an occasion for pulling out the stops.
Interest in bigger, bolder pieces — from earrings to cocktail rings — show no signs of shrinking.
Of her oversized Fred Leighton Indian-style earrings, Nicole Kidman teased, "They were almost as big as my nose in ‘The Hours.’" Antique, Asian-influenced pieces also turned up on the necks of Cate Blanchett and Rachel Griffiths.
If diamonds are a girl’s best friend, more than a few actresses arrived on the red carpet in good company. Harry Winston bedecked Halle Berry to the tune of $4.7 million for a blue-and-white diamond suite which included a 30-karat pear-shaped blue diamond pendant. And DeBeers covered Queen Latifah’s décolletage in a rainfall of diamonds valued at $175,000. Edgier still was the Bulgari Collection diamond cuff wrapping Jennifer Aniston’s wrist. Packing more dazzle for the dollar were hand-dyed satin clutches trimmed in crystals from Tod’s.
Even some of the more delicate pieces made a statement. Jennifer Garner paired her simple black Ralph Lauren gown with a seed-pearl necklace by Janis Savitt for M+J Savitt. Pearlized butterflies topped Debra Messing’s heels by Giuseppe Zanotti, while tiny diamond versions by Cathy Waterman dangled from Laura Linney’s lobes; and Allison Janney wore a tulip made from pink diamonds, rubies and pearls from Fred Paris.
Makeup went two ways, observed L’Oréal consulting artist Collier Strong. "There was the sophisticated, dramatic look with red lipstick — that always works." At times, however, it proved a little heavy-handed on such a bright sunny day, as in the case of Allison Janney, Cate Blanchett and Heather Graham, or the come-hither, heavily shadowed eye looks seen on Jennifer Connelly and Nia Vardalos. The other trend flirted with color, enthused Strong, who gave Kristin Davis "a contemporary version of retro" that concentrated on pink. "Look at Cameron Diaz with the blue eyeshadow and fuchsia lipstick. She’s always a little daring."
In hair, while a few channeled Rita Hayworth’s soft, face-framing waves (seen on Marg Helgenberger and Connelly), most swept every strand back, back away from the face. "Everyone’s doing Debra Messing’s hair," pointed out Etienne Taenaka of Vidal Sassoon. "It’s that tousled curl, pulled back and worn with a low knot in the back." Or simply pulled back into a loose chignon (Rachel Griffiths, Nicole Kidman), with iron-stiff strands of varying lengths fanning out (Julianne Moore, Edie Falco). "Disappointingly," he continued, "we saw a lot of ponytails on these women — Jennifer Aniston, Jennifer Garner, Lara Flynn Boyle. Ponytails are for the gym."
“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