Voluminous Gowns and Gender-Bending Looks: An Oscars '19 Fashion Review

To be honest, I’m not exactly a film buff, so I’ve never been one to really pay attention to the Oscars. However, there’s no denying that red carpet fashion is highly influential and exciting to observe (though Business of Fashion seems to disagree), so of course, I’ll tune into what celebrities are wearing. With everything from Billy Porter’s tuxedo gown to Gemma Chan’s huge ruffly Valentino Haute Couture gown, this year’s Oscars had some stunning looks. Unfortunately, it had far more disappointing ones too. Keep reading for my review of all the major looks from the night.


Billy Porter

Let’s start off with what was probably the most talked-about look from the night. Billy Porter, who stars in the television series Pose, wore a black velvet tuxedo gown designed by Christian Siriano, who is easily one of the most inclusive designers in the industry. There are a million reasons to love this look, from the lush fabric to the flawless tailoring to the way it twists existing ideas about gendered dressing. This look was as much of a social statement as it was a beautiful gown. Porter showed everyone that there’s no need to be stifled by the binaries of fashion, dismantling the idea that masculinity can only look one way. Porter’s confidence is inspiring, and I hope we get to see more gender-bending outfits on the red carpet in the future.

Constance Wu

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As much as I love Constance Wu, I have to admit that she’s been bringing some pretty dull looks to the red carpet this season. For the Oscars, she wore a canary yellow pleated Atelier Versace gown, and while it was pretty, it was just so boring. The dress looks like something that comes from Macy’s prom dress section, and while it makes for some nice twirling shots, it feels like something we’ve all seen a million times before. The asymmetrical off-the-shoulder detail is perhaps the most interesting part of the dress, but to be honest, it looks like part of the left shoulder’s overlay was bitten off right before the event, leaving Wu no choice but to just walk the red carpet anyway. Hopefully she’ll be wearing something more noteworthy and less cutesy next time.

Amy Poehler

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Amy Poehler twisted gender norms while looking chic and confident in an all-black pantsuit from Alberta Ferretti. The look featured a mix of masculine and feminine elements, as she had a ruffled blouse that kept her from looking too serious and wide leg trousers that fit perfectly. She put her hair up and accessorized minimally, giving the look an androgynous and sophisticated feel. Overall, definitely a solid outfit.

Lady Gaga

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Lady Gaga is known for consistently standing out at award shows, from her infamous meat dress to jaw-dropping haute couture gowns, she’s proved that she can really pull off anything. This time, she graced the red carpet in a black Alexander McQueen dress, elbow-length leather gloves, and a 128.54-carat “Tiffany Diamond” necklace, which was last worn by Audrey Hepburn in Breakfast at Tiffany’s. Her old Hollywood glamour-inspired look was certainly beautiful, but it wasn’t her most memorable. Additionally, the craftsmanship of the dress wasn’t the best. There is a line right where the fabric goes from form-fitting to flared out, making the silhouette less smooth than it could have been. However, I do love the curved neckline and the padding on the hips. All things considered, this was a good look, but not a great look.

Awkwafina

Awkwafina wore a shimmery pantsuit from DSquared2, and while I think the concept suits her, the execution fell flat. I love the color and the big pussy bow blouse, but the positives stop there. The blazer seems to be too small, as the single button looks like it’s working hard to keep itself in place, and the pants fall awkwardly and look uncomfortable. In comparison to some of the pantsuits that other guests wore, it’s clear that this one simply doesn’t fit well. If the tailoring were impeccable, then this look would have easily been one of the best from the event, but tragically, that wasn’t the case.

Kacey Musgraves

Kacey Musgraves, who won Album of the Year at this year’s Grammys for her album Golden Hour, wore a bubblegum pink tiered tulle dress from Giambattista Valli. Tulle dresses have been very popular this red carpet season, likely due to their femininity and drama, and while some people seem to be very over the trend, I’m still a fan. While I think the bow at the waist is unnecessary, I love the big shoulders and the mock neck, which give it an updated ‘80s prom queen vibe. Overall, definitely a top look from the night.

Ashley Graham

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Ad campaigns featuring diverse body types have grown exponentially in recent years, but many designers still refuse to work with plus-size clients, claiming that they are too hard to dress. However, Ashley Graham consistently proves them wrong; her curves were perfectly accentuated in this black Zac Posen dress. Though simple, its details helped keep it from being boring. The asymmetrical neckline and mermaid skirt gave it an interesting silhouette that made her look glamorous and classy.

Michelle Yeoh

Michelle Yeoh, who plays the formidable matriarch Eleanor Young in Crazy Rich Asians, wore a cream and silver gown from Elie Saab’s Spring 2019 Haute Couture collection. I absolutely love the silhouette of the dress; the off-the-shoulder neckline is elegant without being bland while the voluminous bottom adds drama and glamour to the look. However, the embellishments feel unremarkable. Countless women have worn similar-looking embellished dresses to major events, and while they all look pretty, none of them stand out. This look was alright, but it could’ve been more interesting.

Elsie Porter

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15-year-old Elsie Fisher has a history of wearing suits to major events, so it was no surprise when she came to the Oscars in one as well. This three-piece Thom Browne suit is definitely one of my favorite outfits from the night, though I might be biased because of my love for Thom Browne. The look was sophisticated and cool without feeling stuffy, and the present-shaped bag gave it a playful touch. The patent leather shoes gave the outfit some texture and kept it from being too plain. While looking at this makes me realize how poorly dressed 15-year-old me was, I love seeing younger stars wear something simultaneously daring, chic, and age-appropriate.

Rachel Weisz

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Rachel Weisz wore a bright red gown from Givenchy’s Spring 2019 Haute Couture collection under the creative direction of Clare Waight Keller. While I usually love Waight Keller’s work, this dress just feels confusing to me. I’m sure there’s a way to put latex and beading together and make it look good, but this wasn’t it. The pleats give the dress some shape, but it just feels like there’s too much going on here, especially with the overly-perfect hair and headband. Overall, this look is just sorta strange.

Chadwick Boseman

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Chadwick Boseman is one of the best-dressed men in Hollywood at the moment, and he consistently shows up in fantastic menswear looks that stray outside the standard black and white tux (the Givenchy Haute Couture look from last year’s Oscars is one of my personal favorites). This year, he wore Givenchy Haute Couture again, and the outfit included an embellished tailcoat and a long silk scarf in place of a tie. The detailing on the jacket is beautiful and the rest of the outfit is understated, allowing the sequins and embellishments to really shine. Boseman’s willingness to take fashion risks and push the boundaries for what formal menswear can look like has paid off yet again, as this look stood out for all the right reasons.

Gemma Chan

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Let’s end on a high note and talk about what was easily my favorite look from this year’s Oscars. Gemma Chan, who played the stylish Astrid Leong in Crazy Rich Asians, wore a giant neon pink gown from Valentino’s Spring 2019 Haute Couture collection, under the creative direction of Pierpaolo Piccioli. Piccioli consistently designs beautiful gowns every collection, full of vibrant colors, subtle yet loud details, and flawless craftsmanship, and this dress was completely on par with his past work. Chan’s confidence paired perfectly with this gown’s drama, leading me to believe that Valentino and Chan are a match made in heaven; few can pull off such bold looks with ease. Even better, Chan was hiding rice cakes and cookies in the pockets of the dress. What an icon.

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Stanley Donen Revitalized Hollywood and Rejoiced in Its Magic

 

The day before the 91st Academy Awards, director Stanley Donen passed away at the age of 94, leaving a gaping hole in the Hollywood firmament. Donen’s magnum opus, Singin’ In The Rain, is often hailed as the greatest movie musical of all time. Its timeless humor, critique of Hollywood and endless joy all combine to make pure movie magic, even decades after its initial release.

The 40’s saw a sharp decline in both the quantity and quality of movie musicals as World War I hardened public sensibilities. Donen observed this change and used Singin’ to poke fun at cultural transitions (represented by the switch from silent films to sound in the movie) with heaping doses of hope and sentimentality. Since its release in 1952, you’d be hard pressed to find a person in America that wouldn't recognize the classic title song or picture Gene Kelly’s iconic umbrella/lamppost pose.

Stanley Donen films are characterized by their ability to deliver sweetness while retaining human authenticity and a sharp wit that keeps them from becoming too saccharine. His directorial debut, On the Town, is a classically cheesy musical staring Kelly and young phenom Frank Sinatra, majorly grounded by Donen’s on-location filming in New York, against the wishes of MGM. Donen saw that the city was practically another character in the movie, and to fake it would be to compromise the story.

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One of my personal favorites, Funny Face, features Audrey Hepburn as a bookstore clerk turned model and Fred Astaire as a photographer in a film that sweetly reconciles intellectualism, fashion and love. In his commitment to authenticity, Donen even drew from Diana Vreeland, a former Vogue editor-in-chief, for musical number “Think Pink”–the editor had sent a memo to her staff saying "Today let's think pig white! Wouldn't it be wonderful to have stockings that were pig white! The color of baby pigs, not quite white and not quite pink!"

Donen’s directorial genius shone brightest through his handling of dance in film. Along with frequent collaborator Gene Kelly, he created the “cine-dance,” integrating the musical medium with film in order to have dances become more than Broadway-style numbers, but rather an artistic collaboration between dancer and cameraman. His ability to strike harmony between so many elements of a musical has made him the director of some of the best movie musical dance sequences of all time, such as Fred Astaire dancing on the walls and ceiling in 1951’s Royal Wedding.

Donen was notably overlooked by the Oscars throughout his legendary career, only awarded for his artistic contributions to film with a Lifetime Achievement award in 1997. Upon receiving the award, the legendary director burst into song and dance, giving us one last piece of that classic Hollywood joy he overflowed with.


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A Night of Uprising and Upset at the 91st Academy Awards

In a night filled with a historic number of Oscar nominations and wins for minorities, the pinnacle award for the night was a disappointment to many viewers.

Most of the night went exceedingly well in terms of equal representation, including wins for Black Panther’s costume designer Ruth E. Carter and production designer Hannah Beachler, Regina King’s win for Best Supporting Actress in If Beale Street Could Talk, Mahershala Ali’s second win for Best Supporting Actor in The Green Book, Spike Lee’s award for BlacKkKlansman’s script, Alfonso Cuarón winning Best Foreign Film, Best Cinematography and Best Director for Roma, Rami Malek’s win for Best Actor in Bohemian Rhapsody, Bao directors Domee Shi and Becky Neiman-Cobb winning Best Animated Short, Period. End of Sentence. helmer Rayka Zehtabchi’s win for Best Live-Action Short, Free Solo filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi’s win for Best Documentary Feature, and Spider-Man: Into the Spider-Verse co-director Peter Ramsey’s win for Best Animated Feature. Even the award presenters were diverse, with 29 of the 52 non-white.

However, once Best Film was awarded to Green Book, the tone of the night shifted. In a film that fits a narrative on race relations better for the 1960s than in the present, Green Book is often touted as the story of a white and black man becoming friends despite their disparate experiences (however, Mahershala Ali’s character was deemed a supporting character in this discussion of race).

The “character arc” of Tony Vallelonga is that of the classic white savior: he helps his pianist employer DC Shirley avoid a beating before explaining to Shirley that he, Vallelonga, is “blacker” than Shirley because he likes Little Richard and Aretha Franklin. A problematic take on race in America that claims progressivism is not the only problem surrounding this film, with one writer criticized for making Islamophobic comments, another writer accused of sexual misconduct, and main actor Viggo Mortensen using a racial slur during a press tour to promote the film.

Mahershala Ali had to apologize to his character Don Shirley’s actual family after the family’s displeasure with the film’s interpretation of Shirley. After winning the award, Green Book producers Jim Burke and Charles B. Wessler and director Peter Farrelly also did not thank Ali’s character Don Shirley in their speech.

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Green Book’s win does not come as too much of a surprise when looking at the demographics of the Academy’s voting committee. With nearly 8,000 voters, only about 38% of the voters identify as women and 16% of voters belong to a a racial minority group (as of 2018). Although this is an increase compared to earlier years, a deficiency in diverse perspectives limits the Academy from receiving an honest and holistic understanding of race and representation in film. It allows most voters to lean into a vision of interracial harmony that isn’t too progressive or upsetting.

Following the #OscarsSoWhite controversy that has plagued the Academy for the past few years for its lack of black nominees, this win is a slap in the face for those critical of the Academy’s attempts at inclusion. Many have argued that if the Academy was eager to award a film addressing race relations in America, it should have looked to Spike Lee’s BlacKkKlansman, which won Lee his first Oscar for Best Original Screenplay.

BlacKkKlansman focuses on a black cop infiltrating the Ku Klux Klan to gain intelligence. Many argue this film explores themes of racism, bigotry, and what it means to be black in the 70’s with more nuance and insight than Green Book. Lee himself was upset at Green Book’s win, and attempted to walk out of the room at the announcement to discuss the mistake made by the Academy stating: "I thought it was courtside at the Garden, and the ref made a bad call."

Oscars 2017 Best Dressed

Oscars Best Picture announcements gone awry aside, the stars came out in full force last night, with La La Land (Best Actress, Best Director, Best Song, Best Score, Best Cinematography) and Moonlight (Best Picture, Best Supporting Actor, Best Adapted Screenplay) going home with some of the biggest awards of the night.

While most played it safe on the red carpet, an array of shimmery gold, soft white and velvety black numbers were gracefully donned by some of the biggest stars of the night, from Best Actress winner Emma Stone's resplendent Givenchy number, to Taraji P. Henson and Karlie Kloss' classic looks, which channeled a certain air of Old Hollywood glamour. 

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