When it comes to impressing at awards ceremonies, there’s only one where it really, really counts.

The Oscars remain the most prestigious and high stakes ceremony in the showbiz calendar. Love it or hate it, put in a good show here and you’ve just written your ticket to becoming a bona fide style icon. Just ask Halle Berry.

In a month packed with ceremonies, parties and lunches, the pressure’s on for old hands and newbies alike to turn it out time and again. But the pressure for some can be too intense: some actresses buckle at the final fashion hurdle, while slow-starters can get a second wind and end up scooping the glitz as well as the glory.

What was interesting about this year’s Oscar carpet was the firm consensus on colour: or rather the lack of it. Many went for black or white, or went old-school Hollywood in antique gold, silver or blush.

The women in white had mixed reviews: wearing white is traditionally a bit of a gamble. Go too frou-frou and you venture into Pronuptia territory; too safe and you risk becoming a one-note wonder.

Someone who did white surprisingly well was Jennifer Lopez. A definite opinion-splitter, her Armani Prive gown was a bold choice and not everyone got it. But the architectural swirls, probably better suited to a couture model than Jennifer’s curves, were a different look for the woman who has struggled to find her way since growing out of the ‘Jenny from the Block’ phase.

Depending on which angle it was photographed from, it was either a dream or a disaster. But it was most definitely not boring: Lopez has hopefully emerged from her style stasis, because if there’s anyone with the chutzpah to wear haute couture, it’s Lopez.

Indeed, on the red carpet, fortune really does favour the brave. Leading the pack for black, Carey Mulligan dared us to diss her Prada gown. Again wearing a scooped-hem, Carey’s dress looked the epitome of classic chic until you got a little closer. Embroidered and embellished with tiny knives and forks, it was a quirky choice for Mulligan who cleverly styled the dress with a gorgeous pair of antique earrings. It was a home-run for Carey who this show season, has often trumped her American peers. She may not have come home with the gold, but in terms of style defence, Carey’s already a winner.

Another interesting choice was made by Twilight’s Kristen Stewart. Wearing inky-black Monique Lhuillier, Kristen was noticeably happier and more relaxed in this than the pearly-white Chanel mini she wore to the BAFTAs.

Never a girl afraid of embracing her dark side, Stewart stood tall in a surprisingly conventional gown, but she wore it beautifully. It was a sharp about-turn for the girl known for her love of cutting-edge design, but her attitude made the look bold, fresh and modern. Bravo, Kristen.

But by far the biggest trend on the night was for camera-catching metallics. Cameron Diaz in antique-gold Oscar de la Renta; Kathryn Bigelow in gunmetal Marchesa and Demi Moore in blush Versace, they all went for variations on gold and silver. Kate Winslet served the trend best in YSL.

The form-fitting dress was an unusual pick, but very chic. Kate doesn’t do try-hard, and this gown perfectly summed up the woman she’s become. This dress, while not everyone’s favourite, was quintessential Brand Winslet.

But the prize goes to the woman of the hour, Sandra Bullock. For a woman who’s publicly admitted she’s not in touch with her girlie genes, she does uber-feminine very well.

Dressed in a high-necked gown from Marchesa (one of a kind, made using vintage fabric), Sandra’s look was taken straight from the femme fatales of the 1940’s. When you don’t have style guns yourself, there’s no shame in borrowing a bit of inspiration from fashion’s back catalogue - Sandra even amped up the fashion voltage with a Veronica Lake-inspired sweeping hairdo and killer red lipstick.

This awards season has forced Bullock to deal with red-carpet dressing, which for most of her career, has been her bête-noire. Remember the story about the tortoise and the hare? Meet Hollywood’s most stylish tortoise. But this one shining moment, on a night where women’s achievement in film was finally celebrated, was totally the right place at the right time. Sandra pulled it together and was a worthy winner, both at the podium and on the red carpet. Glammed up but occasion-appropriate, we could still see Sandra Bullock in there and that’s the whole point of red-carpet: your favourite star, just a little more lipstick, and a Judith Lieber purse.

Despite the love affair with neutrals this year, there were some splashes of colour to be found on the red carpet. Maggie Gyllenhaal dazzled in vibrant blue Dries van Noten and Vera Farmiga’s Marchesa dress was a noteworthy standout. Covered in raspberry fluted ruffles, this dress could’ve been an overwhelming nightmare, but the execution was exemplary. Teamed with minimal jewellery and beautifully-judged make-up, this was girlie for grown-ups, proving that you don’t have to forego the frills if you’re pushing forty.

In fact, the entire evening was less girl power, and rather sisters doing it for themselves. It was a night where David triumphed over Goliath, with The Hurt Locker taking many of the top prizes of the night. But the evening belonged to Kathryn Bigelow and that long overdue historic win for Best Director. It was a genuine Hollywood moment.

As awards season wraps up for another year, those big moments, the ones we remember, are emphatically substance over style: Precious, The Hurt Locker, Crazy Heart: none of these are easy films, but it seems that post-recession, Hollywood’s in the mood for something with a little less flash, and a little more depth.

There’s always room for the big-money blockbuster (indeed Hollywood needs them to survive), but for now at least the industry and the people in it are focused on a way forward that’s anything but black and white.

HELEN TOPE 

This week, the countdown to the Oscars got a little bit closer with the BAFTA ceremony taking place in London earlier this week.

Often seen as a good predictor of where the Oscar votes may fall, there were a few surprises on the night and not all of them were confined to the ceremony itself.

The red carpet had its fair share of upsets too; with many actresses choosing to forego traditional black tie altogether. Dressing for cocktail hour, many chose to go shorter – it was a risk that definitely paid off for some, but left others out in the cold.

One of the first arrivals was Anna Kendrick. A nominee for Up in the Air and a Twilight alumnus, Kendrick has had mixed fortune on the red carpet. She scored poorly with a Marchesa at the Globes, but then redeemed herself at the SAGs with a fuschia Alberta Ferretti.

Taking the note that frills are best served straight up, Anna went for optimum flounce, but in a very on-trend way. Opting for Pucci, Anna’s canary-yellow ruffled dress with sheer side panels was an attempt to bridge the gap between superstar sophistication and girlish glee. After all, if you don’t get excited about your dress, who else is going to?

Anna’s appearance was a good attempt at making feminine young and flirty, but with the exception of the bronze Jimmy Choo sandals, the outfit didn’t translate at all well to London in February. Best saved for the summer, the look was just too sunny and too frilly. The dress overwhelmed Kendrick and didn’t do its bit in flattering her figure. With an Oscar nomination to look forward to, better luck next time Anna.

Anna’s Twilight co-star Kristen Stewart also put in the leg-work and turned up to collect her Rising Star award.

Dressed in a shimmering Chanel mini-dress, this was a look guaranteed to pull at the heartstrings of every teenage girl. It was a smart choice for Stewart; a fitted, no-nonsense shape but with plenty of detail to keep the cameras happy. Known for being extremely shy, this dress did all the PR work for Stewart, and just to prove that Kristen likes to keep the styling low-key, she paired the look with tousled hair and barely-there, but exquisitely done, make-up.

A star who is determined to march to her own beat, Kristen may have much to learn about red-carpet attitude (it’s all in the shoulders), but her individuality marks her out as an inheritor to stars like Winona Ryder and Angelina Jolie. A rising star (and now with a statue to prove it), Kristen is someone worth watching out for over the next ten years. Someone who’s not afraid to wear Chanel her own way? That’s what being a star is really about.

Famous for playing Coco Chanel herself, Audrey Tautou also turned in a good performance on arrival. She surprised many by not turning up in Chanel, but she turned it out in Lanvin.

The short, pink puffball dress was Parisian chic as only Lanvin can do. On paper, it reads all wrong, but the gathering at the waist was immensely flattering and the one sleeve seductively draped over the shoulder added just the right level of je ne sais quoi.

It was off-beat and fashion-forward without losing its cute quotient. Expertly paired with contrasting bag and shoes, this was a master class in how to do punchy colour in the middle of winter and make it work.

The person who had the most to prove was Carey Mulligan. A favourite to win for An Education (and she did), Mulligan’s rise through the ranks from garnering roles on BBC’s Bleak House to a fully paid-up member of Young Hollywood, has been nothing short of meteoric. But if Carey felt the pressure of winning on home turf, she didn’t let on. Her BAFTA appearance was calmly assured and very, very stylish.

Her dress by little-known label Vionnet will have the same effect as Halle Berry wearing Elie Saab to the Oscars. The one dress of the night that everyone had an opinion about, Carey wowed every fashion pundit, without a sequin in sight.

The short, knee-length skirt with full train and slashed neckline was a tremendous gamble. But as with some of the greatest red-carpet moments (like Halle Berry making history in a dress by a then-unknown designer), a bit of risk is always worth taking.

Mulligan’s dress was a complete wow; a confident choice for an actress who is about to join the likes of Kate Winslet as one of our best exports. There was no doubt about it – Sunday was Carey’s night to remember.

However, not everyone braved the weather and went with the short option. Vera Farmiga, from Up in the Air got many people’s vote for Best Dressed of the night with her almost bridal, sweeping gown from Marchesa.

The one-shouldered Grecian dress was kept from being too bride with a black sash around the waist. It was a supremely elegant choice, and just one of a series of sartorial hits from Farmiga, who up until very recently, was more used to watching these ceremonies from the safety of the sofa.

Being flung into the spotlight mid-career can have one of two effects on an actress: she either takes to the scrutiny like a duck to water, or flounders, panics and ends up being bullied into something no grown woman should wear by a pushy stylist who should know better.

Luckily for us, Vera falls into the first category. Like Carey, she has an eye for fashion, but more importantly, she has an opinion. Every choice Farmiga has made so far this awards season has been right on the money. Come Oscar night, this is one safe bet for a Best Dressed pick.

Most of the grown-ups went with traditional black tie, with Kate Winslet in a Stella McCartney column dress with racy lace inserts; Anne-Marie Duff showing off the bump in scarlet Alberta Ferretti and Kristin Scott-Thomas showed us the dark side of Paris in an elegant Louis Vuitton.

But a special mention has to go to Joely Richardson. A decade ago she hit the front of every tabloid in a yellow Julien McDonald backless mini-dress. Tough to wear, let alone make your own, but Joely proved at the Maybe Baby premiere that she wasn’t about to be upstaged by any frock.

The lessons learnt came full circle at BAFTA when she accompanied her mother Vanessa Redgrave to collect her Fellowship Award. Joely arrived in a midnight-blue goddess gown with jewelled accents on the shoulders.

The dress, by Catherine Walker (who also dressed Vanessa), was nothing short of extraordinary. Dramatic, sexy and attention-grabbing without risking goose bumps, it was a palpable hit.

Just when the night risked being snatched away by fashion triumphs from Farmiga and Tautou, Richardson arrived and staged a very British coup. Understated as it was elegant, the dress was a reminder that if you want timeless style, the British have just as much to offer as their international counterparts. British Fashion Week couldn’t have had a much better start.

The BAFTA evening was a British triumph all around, with Colin Firth winning for A Single Man and making an acceptance speech that reminded us that funny and sexy don’t have to be mutually exclusive. With Carey Mulligan’s star on the rise, and Vanessa Redgrave being accepted into the Fellowship, it was a night that should have had Hollywood sitting up and taking note. Many think the Oscars are all sewn-up, but the surprises at the BAFTAs prove that when it comes to awards, and especially the red-carpet, there’s no such thing as a sure thing.

HELEN TOPE

Writing a tribute to Alexander McQueen presents an almost impossible task. The celebrated maverick of British fashion, and an international design influence, McQueen’s legacy is something vast and complex, something that can only be attributed to a visionary.

Born in 1969, Alexander McQueen did not pursue the traditional route in becoming a fashion designer. A working-class boy from Hackney, McQueen learned his trade working as an apprentice at Savile Row. Moving through the ranks at Gieves and Hawkes, McQueen was clearly talented, and picked up technique quickly, even tailoring a suit that was eventually worn by the Prince of Wales.

But McQueen wanted more. He applied to Central St. Martins for a job as a pattern cutter tutor in 1994, and immediately impressed the staff with his passion and knowledge of fashion, both past and present. He may not have had the traditional academic background necessary to be admitted to Central, but his abilities and willingness to work convinced the staff to admit him onto the postgraduate programme.

It was a gamble that paid off, both for McQueen and Central St Martins. His Masters collection caught the eye of uber-stylist Isabella Blow, who bought up the entire collection. Isabella took the new designer under her wing, and his reputation was sealed – Alexander was officially Fashion’s Next Big Name.

McQueen’s early collections were about creating impact: as a new designer, it is essential to stand out from the crowd, and that was something McQueen excelled at.

Ahead of his time, McQueen’s early shows were theatrical, thought-provoking and controversial. In 2003, he had a shipwreck re-created for the Spring / Summer show; in 2005 the models performed a human game of chess and his Autumn 2006 show, ‘Widows of Culloden’ featured a hologram image of Kate Moss. This was fashion as theatre, and this was just one of the things that made McQueen a pioneer.

In 1996, McQueen was installed as head designer at Givenchy. His collection in Autumn 1998 caused a sensation.  Models were featured on a revolving plinth wearing white tubular dresses which were then spray-painted by robots as the models twirled around. This was fashion at its most visceral and immediate, and the fashion press couldn’t get enough.

Despite the early controversy, as McQueen’s career developed, his standing within the fashion community did not diminish, because McQueen was more than fashion’s ‘enfant terrible’. He was a consummate artist. The idea of a designer being hands-on may seem old-fashioned, but McQueen never forgot the lessons learnt during his Savile Row apprenticeship, and every collection had one common thread running through them: every piece of clothing was expertly tailored. His commitment to tailoring, and getting it right, was what kept him in the fashion spotlight. Alexander’s mastery of tailoring informed every one of his ready-to-wear collections with a couture sensibility. He understood the importance of cut and fit on a woman’s body, and this was what made clients love him.

His glamorous 1950’s Hitchcock-heroine collection for Autumn 2005 provoked a wave of enthusiasm for suiting and dressing up. His Novak bag, the accessory swinging from the arms of the models, became a worldwide hit. McQueen’s idea of femininity has always been there in every collection. It is not always obvious at first, but there is in every collection, a glimpse of the woman McQueen designed for.

His work, both at Givenchy and his own label, gave fashion a fresh point of view. Just a brief summary of some of the trends he invoked gives you an idea of what the fashion world has lost. He revived tartan and skull prints, he was the first designer to revive hipsters, then made dressing-up cool for a generation of girls wedded to their jeans, and only six months ago put on a blockbuster of a show with reptile print dresses and alien shoes.

Alexander McQueen has always been reported as the former wild boy of fashion, the designer who liked to push our buttons; engage and challenge us. He was all of those things, but he was also a designer capable of producing moments of sheer, breathtaking beauty. His show for Autumn 2008 was nothing short of a masterpiece. Taking inspiration from the English Regency and the Indian Maharajah, it blended the two worlds together, creating a piece of sumptuous fashion theatre. An enormous gathered silk coat, a red and white dress made entirely from feathers – it was more than fashion, it was a pivotal moment in McQueen’s career. He had proved that cutting-edge fashion could be beautiful. It could provoke the mind, but it could also stir the heart.  If McQueen’s legacy is nothing other than this, this alone represents a phenomenal - and peerless - achievement.

The man who came to the fashion world determined to prove himself did exactly that. He became the epicentre of the British fashion world, making British fashion respected as a centre for avant-garde design across the globe. McQueen is more than a name, it is a global brand.

McQueen was visibly influenced by designers such as Vivienne Westwood, and his influence in turn will live on in young designers such as Gareth Pugh, Peter Pilotto and Christopher Kane.

Only time will tell what will happen with the McQueen name, but his legacy, for now, is assured. Alexander McQueen paired creative freedom with technical excellence. Sometimes misunderstood, McQueen’s bravery in pushing to new fashion frontiers, especially in what was to be his final collection, is a quality that no new designer can afford to be without. He was not afraid to be wrong, but he was never afraid to push an idea when he knew it was right.  British fashion lost its most vital talent today, but McQueen’s astonishing influence will live on in the vision of what fashion will become, a vision he helped to create.

HELEN TOPE

As anyone who has ever flicked through a fashion magazine knows, the best part about the Oscars is not the speeches, the cutesy song and dance routine by the host or even the unscripted moment that has everybody talking the next day. With Oscar, it’s all about the frocks.

With the nominations released on February 2^nd, fashion pundits can now get a reasonable idea of what to expect on the red carpet. Of course it’s not an exact science – where would be the fun in that? But it is a truth universally acknowledged that A-listers tend to fall into fashion tribes, whether they realise it or not.

The Magpies – Beyonce, Kate Hudson, Charlize Theron, Jessica Alba

On the red carpet, the first tribe that immediately grabs your attention are the Magpies. Thoroughly seasoned at picking out a show-stopper, they love glitz and glamour, and this makes them instantly stand out on a red carpet dominated by black chiffon.

Intensely-decorated dresses make the cut with a true-to-form Magpie. If it doesn’t dazzle, it’s not getting worn – end of story.

Modern divas like Beyonce are typical Magpies, and Beyonce keeps the glitz contemporary by choosing simple shapes – usually strapless and form-fitting to keep things just the right side of fashionable.

Some magpies head under the radar, like Kate Hudson. It’s not always about beading – a magpie’s love of something shiny can translate into a tiny jewelled detail on a plain jersey dress, or a heavy satin that could’ve been borrowed straight from Marlene Dietrich. Although distinctly modern women, these magpies work old-school glamour like no-one else and it’s a smart approach as glamour is something that never goes out of style. There’s always a place for glamour, and when done well, it stands head and shoulders above the passing trends.

Oscar Watch: A magpie’s best friend isn’t diamonds, it’s Elie Saab. Now a red-carpet fixture, expect to see at least one of his gowns on the night. The show-girl side of Versace will be a Magpie must-have, and designers like Carolina Herrera perform wonders with sequins. You can also expect to see a closet Magpie in a plain dress bedecked with a major piece of jewellery. You might be initially thrown off the scent, but she’s a magpie through and through. If your favourite part of getting ready is picking out the jewellery – you’re a Magpie.

The Traditionalists – Sandra Bullock, Helen Mirren & Kate Winslet

This tribe is hard core. They treat red-carpet prep like a military campaign, because for them, it is.

The Traditionalist has nothing to do with age. Helen Mirren is one, but so is Kate Winslet. This tribe can be identified by the following means: classic silhouettes, timeless colour palettes (with the occasional splash of colour to keep us on our toes) and a firm belief in the power of supportive underwear.

These girls appreciate good cut, excellent fit and comfort as much as humanly possible. You won’t see nominee Sandra Bullock suffering for her art – the easier she can make it on herself, so much the better.

Far from being staid, these women know the power of their own sex appeal. Helen Mirren can make a grown man weak at the knees, and Scarlett Johansson, even with that cleavage, still manages to be demure – clever stuff.

Oscar Watch: Expect to see the Traditionalists in very traditional red-carpet labels such as Oscar de la Renta, Armani and Valentino. Traditionalists are loyal clients because the designers know exactly what they’re doing. Superlative fit and effortless glamour is what catches the eye – and heart - of every Traditionalist.

If you see a nominee sauntering down the carpet in a couture gown like she’s wearing an old pair of jeans, that’s a Traditionalist in the making. No dress, however grand, wears them. Watch out for that girl – and there’s bound to be one this year (there always is) - her charm offensive on Hollywood’s power players is just getting underway, and resistance is utterly futile.

New Romantics – Penelope Cruz, Emily Blunt, Anna Kendrick, Abbie Cornish

This tribe is all about the fabulously floaty frock. Soft, whimsical and utterly romantic, these gals work the allure of femininity like it’s 1899. Born to play period drama roles, this group are smart as whips and proud of it.

Some go all out (think of Penelope Cruz in her screen-siren-senorita moments) and others prefer their romance with a sharp dose of pragmatism.

Newcomers Anna Kendrick and Bright Star’s Abbie Cornish are more likely to go for the pared-back approach with the minimum of fuss. For this remit, Italian designers like Armani and Alberta Ferretti excel at gowns that make a statement without the unwanted Diane Arbus context. There’s only so much embellishment a grown woman can get away with, and Baby Jane wasn’t a good look on Bette Davis, much less our nervous nominees.

Whether the Romantic goes all-out or reels it in, don’t be fooled. Underneath those ruffles, there’s a woman with a game plan. This is no marshmallow-brained starlet. These girls got here on talent and determination. They may be all smiles for the cameras, but underestimate them at your peril.

Oscar Watch: The Romantics’ favourite label Marchesa does sterling work in pairing fairytale romance with couture-like finish. Expect to be pleasantly surprised by Versace – the softer side of the Italian titan was all over the Spring / Summer runway. But romantics can’t do better than couture for out-and-out romance. Armani Prive and Valentino specialise in making contemporary versions of the ballgown. These girls want to win fashion points, not Prince Eric.

The Romantics have been responsible for some of the most memorable moments on the red-carpet since Uma Thurman started it in 1995, wearing lilac chiffon from Prada.

The years that followed had Cate Blanchett in a Galliano gown with birds of paradise expertly stitched onto a sheer back panel and Gwyneth Paltrow going for glory at the 1998 Oscars in sherbet-pink Ralph Lauren.

The Romantics may in fact be the stealth heroines of the red carpet. A Magpie may wow you on the night, but chances are the Romantics will be the ones you won’t forget.

The Maverick – Carey Mulligan, Meryl Streep, Marion Cotillard, Maggie Gyllenhaal

The most difficult tribe to pin down, a Maverick’s fashion progress is nigh on impossible to chart. This icon can strike out at the first attempt or hit the top of every Best Dressed list in town. There is no such thing as fashion malaise with a Maverick, because it’s impossible to ignore her.

Marion Cotillard is a master at being the fashion maverick. She handles couture better than anyone (aside from Cate Blanchett and Nicole Kidman) because she knows how to wear it. Couture, the good stuff, can smell fear. Wear it like it’s your favourite t-shirt and you will shine. Tiptoe around the red carpet in a £100,000 custom-made design and your awkwardness will be amplified for the entire world to see.

New girl Carey Mulligan has already made a niche for herself as the new indie-girl-who-reads-Vogue. Well versed in Lanvin and Nina Ricci, Mulligan has already turned in two astonishing appearances this year. Providing she doesn’t succumb to Oscar fever and strap on a ballgown that looks like it was made for her grandmother, she stands an excellent chance of being one of Oscar’s Best Dressed.

Meryl Streep will be the one to watch. The Devil wore Prada, but Meryl prefers a bohemian-style print much to the dismay of many fashion pundits. Streep is probably set to be the biggest surprise of the night. She could cause a huge stir with something breathtaking – borrowed straight from the Traditionalists’ rack – or go with something entirely unexpected. My money’s on the latter.

Oscar Watch: Anything goes: these girls can go from ultra-modern with an Avatar-blue Nina Ricci dress that heads to the next fashion frontier, or switch things up and go for an absolute classic and really sell it.

But to separate themselves from the herd, you will see exaggerated accents to keep that individuality: think large side-bows and eccentric detail. Whatever they wear, prepare to be amazed.

From space-age couture to bohemian chic, this group is responsible for sheer moments of daring. Think of Bjork’s notorious swan dress and Marion Cotillard’s black swan from Dior: two very different dresses on an identical theme. Odette and Odile – they are poles apart, but essentially the same woman. It’s a good metaphor for understanding the Maverick. With several Mavericks in the running for an Oscar this year, strap yourself in – it’s going to be a bumpy night.

What makes this year’s Oscars so compelling is the struggle between David and Goliath. When it comes to making a sweep of the awards, will it be simple story-telling that wins out, or the box-office might of 3D?

In the greatest leap forward since sound and technicolour, 3D will undoubtedly shape the cinematic experience for a whole new generation.

But despite what’s been reported, Hollywood’s army of agents aren’t sweating it just yet. This development highlights how good actors are still needed: an animated projection – however incredible – still needs a human voice to bring it to life.

Like film, fashion has also begun to merge function and innovation. You can see this in the hyper-sculptural shapes that are beginning to emerge on the couture and RTW runways.

Obsessed with making a good impression, many actresses will opt for the road most-travelled, and it has resulted in years of nice but predictable fashion – and no-one remembers a nice dress. Awful? Yes. Incredible? Most definitely. But nice? It’s forgotten in an instant.

To argue that red-carpet fashion has lost its way is ludicrous: far from being predictable, this year promises the beginning of a new chapter, and the best part? It’s like nothing we’ve seen before.

HELEN TOPE

Sandwiched between the Golden Globes and the BAFTA’s, the SAG Awards are often the forgotten ceremony on the road to Oscar glory. Exclusively honouring acting talent, the SAG’s may not have the international impact of the Globes or the Oscars, but the stars still like to pack a punch. The ceremony, which represents the ultimate in peer approval, is a chance to get out there and get noticed. In the race to be the best in show, who arrived dressed to impress, and whose style evolved to the next level?

In terms of the dress code, the SAG’s is less formal than the Globes, but it gives stars the chance to experiment. It also gives the A-list a chance to use that dress that didn’t make the cut for the Globes: even Hollywood’s finest have heard of sustainability.

For some, it was a chance for a fashion do-over after mixed reviews of their turn-out at the Globes. Others stuck to their guns, and some had no option but to go for broke and opt for a completely new look.

Making a grab at style redemption was 30 Rock creator, Tina Fey. The editorial look Fey chose for the Globes would be a tough ask for a heel-toting, card-carrying fashionista. Her Zac Posen dress combined bold print with a difficult skirt length that overwhelmed Fey on the Globes carpet. Fey wanted quirky and fun, but the dress was too much even for her personality.

Her appearance at the SAG’s proved that Fey is a quick study. Tina rethought her entire red-carpet approach from head to toe. Going simpler, she arrived in a purple dress by Ferragamo. The colour complimented Fey’s features perfectly and the dress, fitted to the knee, was a giant leap forward: short, smart and very sharp.

Winner of the night Sandra Bullock also got it right second time around. Her gooey confection of a dress at the Globes divided but failed to conquer. This time, Sandra went back to basics, choosing a stunning black column gown from Alexander McQueen with electric blue swirls decorating the shoulders. Considering that most of Sandra’s time was spent at the podium either accepting awards or presenting them, a dress with a dazzling top-half was an incredibly smart move. Her willingness to do a style 180 was refreshing, and put fashion pundits on their guard. A one-note wonder is all very well (especially if that look’s working for you), but someone who’s not afraid to switch it up? Sandra is in danger of becoming a stealth style icon – whether she likes it or not.

Nominated for Up in the Air, Anna Kendrick took the chance to prove that she’s also willing to take notes. Her first Globes outing was in an outrageously girlish Marchesa that ended up wearing her rather than the other way around. A mistake commonly made by red-carpet rookies, the Twilight actress decided to dial it down for the SAG’s.

Simply but beautifully crafted, her fuschia Alberta Ferretti gown was an intelligent choice from an actress who aspires to be a fixture of these events for many more years to come.

However, the biggest controversy of the Globes came courtesy of Diane Kruger. Splitting opinion right down the middle, her frothy pink Lacroix dress delivered plenty of wow-factor, but many felt it was a case of too many ruffles spoiling the couture.

Taking the SAG’s as a chance to rewrite her fashion report, Kruger scored an A+ in a mustard-yellow gown from Jason Wu. Sweeping into the awards, Kruger’s look was soft, romantic and triumphant. Wu was responsible for Michelle Obama’s inauguration gown and his editing eye does sterling work in paring back eveningwear. When a dress looks this good, it doesn’t need any whistles or bells.

A fairly unusual choice for the red carpet, yellow traditionally scores well because of its rarity. Renee Zellwegger’s vintage strapless gown and Michelle Williams’ Vera Wang dress both hit home runs at the Oscars. Its evidence that the German actress and former model isn’t afraid of taking a risk or two, and in Hollywood, risk-taking is what gets you to the top of your game. No-one ever became an icon by playing it safe. The fashion press may not have known how to get a handle on the Lacroix, but the dress from Jason Wu translated from runway to red carpet effortlessly.

The carpet this year was awash with colour, with very few people opting for black. From ice-blue to zesty green, every bright was in evidence. This is a more relaxed ceremony, and it showed. Everyone cut a little loose, and no-one seemed that bothered about standing out. That’s the whole point of the Screen Actors’ Guild – you’re among friends.

The actresses who decided to stick to their guns after rave reviews at the Globes were Carey Mulligan and Kate Hudson. Both newcomer and veteran did an exemplary job of demonstrating how to build your own red-carpet style.

After scoring off the chart for her Nina Ricci effort at the Globes, the stakes were high for Mulligan. But she wowed again with a red Lanvin dress that played to her strengths. Sleek, strapless and very fashion-forward, Mulligan played the Hollywood heavyweights at their own game and showed how to do a red dress on the red carpet. The deconstructed silhouette, very popular for Spring / Summer 2010, demonstrated the essence of Parisian couture: when in doubt, keep it chic. Not everyone got it, but Carey worked without a stylist and calling in Lanvin shows that Mulligan is serious about her blossoming film career. Where image counts the most, Carey did a sterling job in self-representation.

Kate Hudson, as much a part of the Hollywood establishment as it’s possible to get, stuck to her theme by wearing white. The architectural wonder that she wore to the Globes was tempered by a slick, urban number from Pucci at the SAG’s. With a jewelled accent on the hip, the gown made the best of Hudson’s figure, making her long and lean and many people’s pick of the night.

Working avant-garde at the Globes, Hudson took the opportunity at the SAG’s to remind everyone that when it comes to doing sex appeal but keeping it fashionable, very few people do it better than her. A daring scooped back with an ultra high neckline meant that Hudson had everyone’s attention, no wardrobe malfunctions necessary. Starlets in training – take note.

As well as a smattering of jewel tones, off-centre shades also proved popular: everyone had already mastered the pinks and purples at the Globes, now it was time for something unexpected.

Nominee Christina Applegate carried the standard by wearing an ice-blue Roberto Cavalli gown. Deceptively simple, the dress boasted a surprise when Christina turned round to reveal an ornately-jewelled section on the back of the dress. Two dresses in one, Christina’s dress showed how to do modern glamour without overloading on accessories. With multiple nominations for her sitcom ‘Samantha Who?’, Applegate has had plenty of time to practice her red-carpet etiquette and it showed. The result was a resounding hit.

Being new to the awards scene, Glee’s Lea Michele could be forgiven for making the classic first-timer mistake of wearing a big-name label and hoping that it would be sufficient to land on the Best Dressed list. But think of Angelina Jolie’s 1999 outing at the Oscars in a funereal Versace gown and Gothic hair extensions, and it’s suddenly clear that big doesn’t always mean better. Knowing your body, and what suits you, is far more important than wearing a big label or the designer du jour.

Lea Michele already had her Cinderella moment at the Globes, appearing in a black Oscar de la Renta gown fit for a fairytale. On her second time out of the gate, Lea did not disappoint. Appearing in a note-perfect dress by Catherine Malandrino, the effect was womanly, calm and supremely confident. Lea Michele may only stand at 5’3”, but in this dress, she walked tall. With Glee continuing to score major interest into its second season in the US, Lea can expect to test her fashion-sense into 2011 and beyond.

Still given kudos for indicating where votes may land on Oscar night, the SAG awards are a curious mix of formal and casual. This could wrong-foot many of Hollywood’s elite, but this seems to be the one night where most people get it right. Maybe because the SAG’s are perceived as a more casual event, people stop fretting about their couture, and that’s when the magic happens. Moments of glamour are born when taking a breath, not having a fashion meltdown.

Whatever the reason for it, the fashion at the SAG’s never fails to impress. Whether it’s a television newcomer taking a chance, or a comedy veteran finding her fashion footing, the SAG’s offer the opportunity for style redemption. When image counts as much as it does in Hollywood, a wise woman takes every chance she can to get it right, because those chances don’t come around that often.

HELEN TOPE

From the fashion tries to Ricky Gervais’ delivery of near-the-knuckle banter, this year’s Golden Globes ceremony was relaxed and optimistic. A shift away from the formality of the Oscars, and the brooding February weather that habitually dogs London’s BAFTAs, the Golden Globes stands alone as an awards ceremony that applies the best of both worlds. It’s glitzy enough to get the world’s attention, but still cool enough to know that great cinema doesn’t stop beyond Los Angeles’ city limits.

A ceremony that brings out the best talent in television and film, the Globes also are the first opportunity for nominees and presenters to show us what they’ve learned about red-carpet fashion over the past 12 months. Some learn, others study the form at the Paris and Milan runways in September, and others march to the beat of their own drummer.

But as usual, there is always some form of style consensus. For the women, one trend came to rule them all. Frills, that most feminine of accents, was everywhere. From ‘Mad Men’s Christina Hendrick in a peachy swirl of a gown, to Sandra Bullock’s feast of orchid-purple ruffles, frill-seeking was the most popular look of the night.

Even newcomers participated, with first-time attendee Lea Michele arriving in a floor-length Oscar de la Renta gown. Paired with emerald Chopard jewels, ‘Glee’s leading lady was having a full-on Scarlett O’Hara fashion moment. Her enthusiasm, like the show itself, was unapologetically infectious.

Carey Mulligan, nominated for ‘An Education’, also demurred to ruffles, but in a markedly more editorial way. Wearing a navy Nina Ricci gown, Mulligan borrowed a 19^th century Fred Leighton necklace and wore it as a headband. Freshly styled, the result was an original and truly striking red carpet appearance. When it comes to taking style tips, it’s clear that Carey has been paying attention. Mulligan is also expected to scoop a Best Actress nomination when the final shortlist for the Oscars is announced on February 2^nd, and if her Golden Globes debut is anything to go by, there’s a lot more to come from this Brit.

Other first timers didn’t fare so well. ‘Twilight’s Anna Kendrick, nominated for ‘Up in the Air’ failed to charm the fashion press with a Marchesa gown that featured not only ruffles, but acres of sparkle and trim, all competing for our attention. A beautiful dress in theory, in practice it just didn’t work. Trying to please everyone by selecting a dress that boasted a myriad of trends to pick from, Anna ended up pleasing no-one.

When dealing with the red-carpet maze, the general rule to avoid getting lost in the crowd is to pick a trend and stay there. The misses of the night came from those actresses who just tried too hard. If you’re not having fun, no-one else is going to be convinced. Comfort is never at the top of the list when it comes to red-carpet choices, but like picking film roles, sometimes finding the right dress can be more a case of trial than error.

The gals who do know the fashion ropes all excelled. Emily Blunt and Chloe Sevigny, both known for their fashion know-how, wowed the crowds with their own take on ruffles and frills.

Emily, nominated for ‘The Young Victoria’ wore a dream of a dress from Dolce & Gabbana, covered in blush ruffles, and Sevigny divided the critics with a delicate Valentino choice. Was it high fashion or a write off? No-one seemed to be on the fence with Chloe’s choice – you either loved it or hated it. While those who loved it championed the pale flirty ruffles cascading down Sevigny’s gown, others disagreed and said it was a case of too many ruffles spoiling a perfectly good dress. But Chloe can be reassured that when people are talking about your dress, you’re halfway there. The only thing worse than being trashed is being ignored – just ask Oscar Wilde.

Pink proved to be the theme of the night. Drew Barrymore, Maggie Gyllenhaal and Diane Kruger all went for variations of pink, from blush to fuschia.

Maggie’s Roland Mouret gown, with its post-modern answer to ruffles, was a romantic interpretation of the body-con look that has been in favour over the past couple of years. It hit the fashion mark on every point. It was high fashion, but not so much it alienated those who don’t know their Pucci from their Prada; it was pretty but not too girlie, but most importantly it photographed brilliantly and made Gyllenhaal glow. She didn’t just look good, she looked damn good. For many fashion critics this was the look of the night: romantic, soft but still firmly embedded in a high-fashion sensibility. This dress meant business.

Tarantino muse Diane Kruger eschewed the paler side of pink and went all out with a Christian Lacroix fuschia gown that faded from the wickedest blaze of fuschia to the softest of pale pinks. The ombre look unfortunately coincided with a surprising turn in the LA weather, with everyone needing to accessorise their look with an umbrella. Diane’s couture ended up being the butt of some cruel jokes, suggesting that she had got caught in the rain.

Someone who scored a little better with her couture was ‘Grey Gardens’ nominee Drew Barrymore.  Her Atelier Versace gown raised some eyebrows, especially with the shoulder and hip ‘sci-fi’ detail, but it in fact added to a gown that might otherwise have given us a case of fashion déjà vu: we’ve seen it all before.

Drew’s smart choice paid off. The quirky detail set her apart from the rest of the fashion pack, and lent her look an air of futuristic glamour. If ‘Avatar’ had a costume department, this would have been right at the top of James Cameron’s list.

Couture is a risky business: you can be in very safe hands, sartorially speaking, but there are times where a girl just wants to be anything but safe. Couture can answer to both purposes, running the gamut from the most classic of LBDs to looks like pre-figure trends that haven’t even happened yet.

But when the right dress coincides with the right woman at the right moment, that moment can be glorious. But taking risk is all part of the experience. Being safe isn’t always the best means of getting noticed, and playing the risk card definitely paid off for actresses like Olivia Wilde (Gucci), Kate Hudson (Marchesa) and Anna Paquin (Alexander McQueen).

All these actresses stood out on an unusually-busy red carpet because they stepped outside the usual, and took a gamble. Hudson looked positively regal in white Marchesa.

The architectural panels on the waist and bodice were couture-like in their finish, keeping the look from veering into bridal territory. This was another example of how feminine ruffles can be applied with intelligence to avoid any unfortunate Shirley Temple connotations. Cutesy just doesn’t cut it. This ceremony is for grown-up girls who don’t pull their fashion punches, and this year, every girl came out fighting.

Olivia Wilde scored note for her gunmetal Gucci number and Anna Paquin did cleavage in a tasteful way with a gold pailette-covered McQueen dress with a gently scooping neckline, but despite those who showed some leg or cleavage (with varying degrees of success), the night really belonged to romance. It was everywhere, and the major fashion hits of the evening were from those who had embraced their softer side.  With many of this year’s award-ready films being hard-hitting dramas, you can’t blame the actresses involved for wanting to go a little soft and sweet.

The red carpet usually takes its lead from the runway, and this year was no exception. A complete about-turn from last year’s hard-edged couture, fashion loves nothing better than doing a 180 and changing the rules. If you thought that wearing something that could be labelled ‘apricot’ or ‘sherbet’ really wasn’t your thing, especially after a winter spent almost exclusively in black, maybe it’s time for a rethink. Feminine doesn’t always have to be about frills, and these colours are eminently wearable and can be applied in a number of ways. It’s all about adjusting your perspective. Feminine can be flirty and fun, but it can be downright seductive too. Think outside the dressing-up box and bend the rules to suit you, because this summer, everyone’s going to the light.

HELEN TOPE

Now that Xmas is rapidly becoming a fading memory, a girl’s fancy turns to the second best thing about the festive season – aside the lashings of chocolate.

The end of year sales remains a retail tradition, with stores saving their very best bargains for post-Xmas shoppers. Experienced retail junkies will know that it’s no good going into the shops unprepared. For a shopping event this big, and discounts this substantial, attention must be paid. You’ll be needing a strategy.

Many fashion pundits will warn you off buying current-season items – they will apparently date so fast it will make your head spin and leave you with nothing but a hefty credit-card bill in January. No, you should stick to the classics. Consult Audrey Hepburn and Jackie O for guidance. Your purchases should be timeless, tasteful and classic.

While this strategy can pay off if you’re in the market for a new Birkin, if you’re on a somewhat more modest budget, this kind of advice can end up leaving you with a wardrobe full of beige. Honestly – do you really need another pair of black trousers?

What I propose is a different sales strategy altogether, but it has nothing to do with lime-green ponchos or camel cashmere wraps. This strategy is based on love.

Long before shopping became an exercise in frugality, or picking the right colours and shapes on pain of death, going to find a new outfit used to be a fun experience. Remember that?

The heady anticipation of walking into the store, scanning the racks until you spot it: The One. The item that makes your heart beat just that little bit faster. You get closer to it, hold it close – yes, it’s the right size. You try it on – you were right about the size – and more than that, the two of you look like you were made for each other. There you have it – fashion nirvana.

It is this giddying, lustful experience that has been somewhat lost over the past few years. But you can change all that, starting with today. Normally I wouldn’t advocate resolutions in any form, but this time it’s different. Make 2010 the year you fall back in love with buying fashion.

Even with your mission statement close to hand, the sheer amount of choice out there can make sales shopping a bewildering experience. To help with finding that special item that makes you want to punch the air with glee, there are a few simple guidelines to bear in mind to make the whole business less fraught:

Is it in my size? (Obvious, but something that can be overlooked. Always allow for any post-Xmas weight gain due to those darn-right irresistible chocolate oranges)

Am I fully hydrated / still reasonably full from lunch? (You’d be surprised how many bad shopping decisions can be squarely blamed on an empty stomach. Take snacks, take water – dehydration is the enemy)

Would I buy it if it were full price? (A very important question to ask yourself. Leaving aside the issue of budget for the moment, imagine you have enough money to buy said item, in full, right now. Is your wallet opening with the greatest of ease? If the answer is no, maybe it’s time to reconsider?)

Do I already have a skirt / jacket / bag like this? (If the answer is yes, put it back. Even if it’s a classic must-have, the thing to bear in mind with classics is that they’re like buses. Two will come along when you least expect it. With sales shopping, the discount offers you a free pass. It’s time to think creatively and try new shapes and new colours. Try things you wouldn’t ordinarily consider. That discount is giving you licence to expand your fashion horizons).

Would this be a good purchase for next season? (Many of the sales items have the potential to be trans-seasonal. If you spot anything that matches the following list, it’s definitely worth your time queuing for the changing-room:

-          Florals

-          Anything that can be termed pale pink, blush or apricot

-          Anything sheer (tough to come by in winter, but not impossible)

-          Jackets (the new cover-up for Spring and Summer 2010)

-          Embellishment (still trail-blazing into the new season. Find a shell top that’s covered in luxe detail and chalk it up to Prada’s influence)

-          Anything short, black and sexy (Dolce & Gabbana are championing the ‘dolce vita’ look for this summer. Think Fellini and you won’t go far wrong.

The final question and the most important one to ask yourself. Is the item I’m holding in my sales-fevered mitts a lime-green poncho? (If the answer is yes, it’s time for a sandwich. If no, you may well have a style keeper. Hold on tight, they’re a rare breed. You’ve just got yourself a genuine, bona-fide bargain).

It’s simply not true that sales are retailers’ dumping-ground for all the stock that was unsellable during the season itself. In among the ponchos and endless pairs of black trousers, there are some true golden nuggets. Keep an open mind, think carefully before committing your credit-card (and your wardrobe) to any major decisions, and most of all, as with love, don’t settle for second-best. Go for the item that you love the most. Making a choice based on love is never a wrong move, in style or in life. Just go for it.

HELEN TOPE

This is a trend that needs very little introduction. Historically, always coming a poor second to its sexier cousin leather, this season knitwear has come into its own.

Knitwear is rapidly winning over converts by being all things to all women. It truly is the trend that can work for any age, any body shape and any lifestyle. Whether you want to go for wildly decorative pieces, or go a little simpler, knitwear can cater for every fashion whim.

The most striking of the knitwear ‘tribes’ this winter is the Peruvian theme. Designers such as Diane von Furstenberg, Paul Smith and Matthew Williamson all offered their own interpretation of pattern mixed with vibrant pattern. Colour made the cut with Williamson’s knitwear, performing nothing short of a fashion miracle, by making orange and zebra-print a decadent feast for the eyes.

This is the most high-fashion approach to knitwear, with many fashion commentators noting how the ‘trophy jacket’ of the summer has transfigured into the ‘statement knit’. Bold, daring and utterly unmissable, this knitwear look is all about effect. With this much colour on display, there’s plenty of effect to be had.

If that’s not your thing, exploring knitwear’s other big idea might be more your speed. Texture is everywhere this season, from shoes to headwear, and knitwear plays its trump card beautifully. Chunky or fine knit, cable spun or plain, knitwear shows us that when it comes to mixing and matching textures, there isn’t really a rulebook anymore.

Missoni, the label that can give anyone a master class in how to wear colour, has also provided a tutorial on texture this season. Its bold approach to layering knitwear mixes delicately-fine legwarmers with a chunky loose-fit sweater, an intricately patterned cardigan coat and a gorgeously snugly grey snood. On paper, it sounds just plain wrong, but in reality, the execution is inspirational.

For most people, layering is how they’ll approach knitwear in the real world. Dropping temperatures and frantic weekends spent trawling the shops for last-minute Xmas gifts means that anything that qualifies as easy on and easy off, is an instant knit-hit.

For something that looks so darn good, knitwear really shouldn’t be this practical but it is. Remove thoughts of heading to sporting goods stores for your winter outerwear. Unless you actually live in Alaska, being warm and stylish shouldn’t have to be a compromise, and luckily for you this winter you don’t have to make that call.

Knitwear’s bit players are also building a reputation with some welcome additions to the scarf and glove family. A few years ago, the term ‘snood’ was banished to the fashion wilderness along with Fairisle and men in ponytails. But times change, and the 80’s must-have accessory has had an unexpected style revival.

Worn in neutral tones with the urban warrior look, knitwear can soften up an outfit punctuated with acres of black. Moving the urban uniform into winter, knitwear can blur the toughness and give the look a new lease of life. You may have started out in September thinking you’d never get bored with zips and leather jackets, but too much of a good thing can leave you with fashion fatigue. To switch things up, you can incorporate a little texture, giving your autumn / winter staples a few extra months of life before the new season kicks into gear.

Not averse to reinventing the wheel, fashion very occasionally invents some new basics, and the snood and cardi-coat have entered the fashion vocabulary. The cardi-coat bridges the sizeable gap between the days where a jacket isn’t enough and a full on winter coat is way too much.

Subject to endless reinterpretation, the cardi-coat hybrid continues to charm fashion folk and the public alike. You can go classic, taking Missoni and Hermes as your lead, or directional and avant-garde with Rick Owens (his high-street spiritual twin All Saints offer brilliant alternatives). Cosy and a fool-proof way of dressing a more casual outfit at weekends, the cardi-coat looks set to remain a top-seller for at least another season. Its popularity is attributable to the fact that there is a coat out there to suit any fashion taste. Whether you like the town and country look, or the sleekness of the urban warrior speaks to you most, there is a cardi-coat out there that can work for you. Rapidly becoming as indispensable as a decent winter coat, the knitwear stalwart is proving it’s no one-season wonder.

If it can be pinned down, that is the key to knitwear’s mojo. Offering both style and warmth, the age of suffering to be beautiful is well and truly over. This winter, wrap up well, strike a pose and flaunt your knit wit.

HELEN TOPE

Fashion is rarely about re-inventing the wheel, but sometimes revisiting an old classic is required, to keep the momentum going. This season’s revival is all about velvet. A regal fabric that’s not been known for its high-fashion connections of late, it’s back this winter and dancing to a different tune.

This is no mean feat, as velvet has long been saddled with something of an image problem. If you look through its family tree, velvet was once shorthand for sophistication and good taste, worn by royalty and aristocracy. Velvet’s lucky streak came to an abrupt end when it was rediscovered, and made popular, during the 1980’s. Reincarnated for the ultimate decadent decade, and heaped on the back of every fashion-conscious Sloane Ranger, velvet became the evening fabric, as much a part of 80’s iconography as the jumpsuit and the Fergie bow. Over-egged with frou-frou detail, fashion hangovers can have quite a kick, and velvet has been in fashion’s bad books ever since. It didn’t need so much of a rethink, as an outright revolution. But with a little left-field thinking from fashion’s newest and brightest; its PR history has just been rewritten.

Its makeover for 2010 comes courtesy of the coolest kids in town: Marc Jacobs, Christopher Kane, Miuccia Prada and Proenza Schouler. This season, velvet gets its groove back, and then some.

The watchword for every designer working the fabric has been sensuality. The feel of velvet against the skin remains its key selling-point. Nothing else gets you sipping Martinis and humming Eartha Kitt tunes quite as fast. Stripping velvet of its negative fashion equity, what is left is the sensuousness, and Proenza Schouler, Chloe and especially Prada exploited this x-factor to the nth degree.

Their minimal designs showcased what is great about the fabric; fit, feel and texture. Hannah MacGibbon for Chloe featured a one-shouldered jumpsuit that owed a debt to the best of the Eighties, while keeping the look sober and restrained. Proenza Schouler also created a striking piece in grey velvet: a barely off-the-shoulder dress made interesting by the use of light and dark tones that was anything but flouncy. This is where the season excelled in bringing velvet into the 21^st century. Rethinking the cut wasn’t going to be quite enough – it’s time for the science bit.

By using splicing and burn-out techniques, velvet became interesting. Christopher Kane’s superb series of organza shift dresses used jewel-coloured pieces of velvet interwoven in vertical and horizontal stripes, made the impossible seem possible: velvet made kooky and cool. Styling the dresses with bare legs and brogues, Kane banished any possible reference to the bad old days when velvet was reserved for the terminally clueless. This look garnered attention because it scored with the left-of-centre crowd and the mainstream press. Everyone was impressed.

This new-generation take on velvet continues with Marc Jacobs and Burberry both doing their own versions of the day dress. Marc’s black dress with gold piping and button detail keeps things simple and relaxed. Supremely styled with colourful accessories, this is probably the easiest way to do velvet on the high street.

These youthful silhouettes work so well because they forcibly shake velvet loose from its antiquated origins. No hint of costume drama here. By keeping things short, cute and youthful means that velvet can be worn by a generation with no first-hand experience of its shameful sartorial past.

However, if you do remember (and really wish you didn’t), there is a way to wear velvet that’s strictly for grown-ups. Velvet here is done with a mature edge, lashings of sophistication and sleek appeal.

Making in-roads for the working woman, Prada made velvet a new daywear essential, with its coveted yellow shell top, an ideal pairing with tweed. This is promotion-friendly work wear, far removed from the bad old days of poorly-tailored poly-blend suits. Even if you’re tempted to save a few bucks, don’t do it – there’s always a better way and designers such as Prada offer viable alternatives. You want to get ahead? Don’t follow the pack. One of the simplest fashion rules there is.

Velvet’s most obvious home, however, is still with eveningwear, and many designers have given it a place in their collection. Jasper Conran, Sportmax and Lanvin all did a modern interpretation of the velvet party dress. Lanvin in particular does not disappoint with a full-on glamour moment, proving velvet can be evening-appropriate without even a hint of puff-sleeve. This new look is back to basics glamour that’s definitely not for kids.

In fact, the notion of going ‘back to basics’, sums up perfectly how velvet has moved into the new century. By ditching its privileged past, velvet is reclaiming some much-needed personality and moving into a more egalitarian future. Feeling good is not just restricted to Nina Simone.

As we (very slowly) move into a post-recession age, what counts now is not how you deal with crisis, but what you do after the storm has passed. Many in fashion are seeing this as an opportunity to move towards an era that is grounded in something more soulful, more meaningful. The days of plastic-fantastic beauty are finally being ditched in favour of beauty that is attainable and inspirational, not aggressive and remote. Fashion is, by getting real, leading the charge towards a more honest place, and this can only lead to better things for everyone.

It really is time for a velvet revolution.

HELEN TOPE

Even the vampire-shy can’t have failed to notice the mammoth world tour to promote the second Twilight film, ‘New Moon’, which finished with a premiere in Los Angeles last week.

The saga, penned by Stephanie Meyer, has made its lead actors into stars virtually overnight. Kristen Stewart and Robert Pattinson are now familiar Hollywood names, with Taylor Lautner and Ashley Greene noted for their portrayals of Jacob Black and Alice Cullen.

If you’re not familiar with the phrase ‘Twi-Hard’, and the last teen film you saw had Molly Ringwald in it, here’s what all the fuss is all about. The story starts with Bella Swan, a teenage girl who doesn’t particularly fit the typical teenager mould. When her mother remarries, Bella chooses to relocate and move in with her father, who lives in a tiny town called Forks, based in Washington. In attempting to adjust to a new school, Bella meets Edward Cullen. Edward isn’t like the other boys. He is quiet, mysterious and a bit of a looker. To use the Jane Austen vernacular, an attachment forms between the two. But there is something unsettling about Edward. His eyes change colour. He is incredibly fast and strong. Bella eventually figures out that Edward is a vampire. Throw in an ancient grudge match between vampires and werewolves, and you’re pretty much up to speed on how Twilight operates. This is Romeo and Juliet for the Facebook generation.

But back to the important bit: who wore what. The exhaustive world tour has seen Kristen Stewart wear everything from Rodarte to Proenza Schouler. A girl never afraid to dress her age, Kristen is exemplary at taking the stuffiness out of red carpet dressing. The final stage of the ‘New Moon’ promotional tour at Los Angeles saw Stewart pull out all the stops in Oscar de la Renta.

An old-school label, the curious choice intrigued the fashion press, but from the (unbitten) neck down, the look works. A spare, elegant print and clean sharp silhouette serves Stewart well, keeping the look modern and youthful.

Her hair, unfinished and rocker-chic, raised some eyebrows. Not entirely Kristen’s fault (it is intended for a Joan Jett biopic due for release in 2010), the hair doesn’t off-set the dress but rather fights against it. As a result, her red-carpet look is a game of two halves. But from the neck down, it is a triumph.

The Twilight saga has been responsible for launching not just Kristen’s career but that of her co-stars as well. Ashley Greene, who plays Alice Cullen, has been sparking some serious blogger activity, due to her love of fashion, both on and off-screen.

For the L.A premiere, Ashley chose to champion an up-and-coming designer, Prabal Gurung. A sumptuous cut-away red gown, Ashley played the vamp card, drawing comparisons with fellow starlet Megan Fox. Managing to be both cool and sexy (a particularly tough combination to manage), Ashley is already being tipped as a style name to watch.

A newcomer to the Twilight fold is former child star Dakota Fanning. A star of such films as ‘War of the Worlds’ and ‘Charlotte’s Web’, this is Dakota’s debut as a member of Young Hollywood. Dakota put this into consideration, when she stepped out in a Valentino gown.

Again, this Italian heritage label is renowned for creating beautiful gowns for women twenty years Dakota’s senior. On paper, a teenager wearing couture rarely works. Fashion is all about youth, but not when it comes to eveningwear. Designers know that most teenage girls don’t have the opportunity to play dress up on such a grand scale, hence the bias towards the more affluent thirty-something with the need to impress. However, Dakota chose her weapon for the night wisely and picked a short strapless gown that was pure girly Goth - and chosen by many as their favourite look of the evening.

Dakota amped up the fashion quota with a pair of red satin platforms and minimal accessories, making the look sufficiently edgy and age-appropriate.

The high fashion theme carried on with model and actress Noot Seear. Wearing Alexander McQueen, Noot showed off her fashion know-how in a wildly printed dress that represents the very latest of McQueen’s work. Paired with vertiginous gold snakeskin sandals, this look was definitely the most fashion-forward of the evening.

Someone who didn’t fare so well was Noot’s co-star Elizabeth Reaser. Wearing a pale Herve Leger bandage dress, she got slated for making a ‘predictable’ fashion pick. Any ‘it’ dress on the red carpet circuit has a shorter life expectancy than a butterfly, but the ubiquitous appearance of the Leger (tight, sexy, instantly recognisable) meant that its time in the spotlight was short but sweet. In real life, the sleek high-street incarnation of the Herve Leger classic is brilliant at showing off a killer bod, but in terms of Hollywood’s rather exacting standards, it no longer cuts the mustard.

But of course, it’s not all about the girls. If ‘Twilight’ belonged to Edward Cullen, in ‘New Moon’, he’s got a little competition from Bella’s classmate, Jacob Black. Another boy with a secret (not such a big reveal if you’ve seen the trailer), he’s just cute enough to tempt Bella to pastures new.

Taylor Lautner, who nearly didn’t get the role of Jacob, is proving a hit with the fans and, if the rumours are to be believed, with country singer Taylor Swift as well. Lautner came to the premiere flying solo and dressed to thrill in head-to-toe Calvin Klein.

An all-American look, the retro contrasting blues of the suit and shirt played beautifully against Taylor’s skin tone. Formal menswear can be limiting, especially if you’re in the tricky 18-21 age group, but Taylor made a smart choice by choosing colour as the main story of his outfit. Gimmicks such as pattern and print are all well and good, but they only work if you’re a total party animal – or Johnny Depp.

Taylor’s red-carpet rival for the night was Robert Pattinson. The face of Twilight, Pattinson is James Dean for the i-pod age: with Rob it’s all about the hair. Decked out in Gucci, Pattinson has come a long way since his red-carpet appearance for ‘Harry Potter and the Order of the Phoenix’, where he turned up in a red velvet blazer. He’s certainly earned his fashion stripes, his off-duty wardrobe winning much praise from fashion pundits. If you’re young, male and want to know how to do cool without looking like you’ve tried too hard, just Google a few pictures of Rob. A natural at putting together a relaxed look, Pattinson scores serious red-carpet points for the impeccable suit matched with the artfully tousled hair. Approaching red-carpet fashion with a sophistication that belies his age, he knows how to do formal without looking old-fashioned or looking like he’s trying to channel George Clooney. Pattinson is his own fashion-plate, which makes him a very exciting prospect for future red-carpet events as his career will undoubtedly flourish beyond the Twilight years.

This batch of stars not only has style-smarts, but they represent a Young Hollywood that has learnt from the mistakes of the Lohan-Spears-Hilton escapades two years ago. Determined not be cautionary tales, this new generation which includes Mia Wasikowska, Ellen Page and Amanda Seyfried are getting that attention the right way, by focusing on their work. More intelligent about the image they project, you’re more likely to catch them schlepping about in a hoodie than falling out of a club at 3am.

Noticeably minus the histrionics one would expect from an event featuring several of-the-moment actors, this was a red carpet that was surprisingly low-key and relaxed, even though ‘New Moon’ is expected to do serious business at the box office. Leaving their egos at home, the young actors showed their older counterparts how it should be done: no fuss, no frills - just great clothes. If this is how the next generation approaches Hollywood, its future, on and off the red carpet, is in very safe hands.

HELEN TOPE