Fashion director Ian Wright takes a look at the good, the bad and the just plain ugly Oscar dresses.
It’s unusual for an event so heavily publicised to be overshadowed by what people wore to it but the Oscars is a special event in every sense.
In the bunfight to secure the hottest acting talent, labels spend a disproportionately large amount of time and money dressing a handful of people, but when they’re beamed to TVs all over the world and collated in a million image galleries it’s worth the effort.
So Valentino must have been a bit miffed when, having announced they were to dress Anne Hathaway for the evening, the actress changed her mind and opted for a really rather plain pink Prada at the last minute, a dress that will forever be known as the #LesNipplerables gown.
But casting our eyes further south for a moment (hard I know, when Heidi Klum turns up at Elton John’s bash in a cleavage-tastic Julien Macdonald number), it was the length of the dresses that separated the women from the girls.
Hathaway’s met the floor with a delicate kiss, as did Adele’s Jenny Packham, Jessica Chastain’s custom made Giorgio Armani (pictured) and Stacey Kiebler’s Naeem Khan (gorgeous George’s missus). These were the more successful looks of the evening and will be more practical in the real world when such designs influence the occasionwear market.
Another that just brushed the red carpet was Best Actress winner (yes, they actually give awards out at this thing) Jennifer Lawrence’s beautiful Dior couture gown, the delicate shade and subtle florals perfectly complementing her skin tone.
Practical it wasn’t though, as she stacked it up the shiny steps (and to be honest, who in their right mind would try to mimic Dior Couture in the real world) en route to collect her award. Stumble aside, this was a real show stopper.
The only one to buck the trend and still look great with a significant pool of fabric at her feet was Charlize Theron, also in Dior Couture. Theron has probably been the most consistently well dressed actress year after year, and her ivory white, neatly peplumed gown was precisely cut to allow the fluid train to contrast nicely.
As with a lot of things in life, less is more - something the colour-clashy, over-adorned, fabric-heavy frock makers would be good to acknowledge.