The Costume Institute Gala, or the ‘Met’ Gala, is the one event in the showbiz calendar where fashion is not just the appetiser – it’s the main course.

Held yearly at the Metropolitan Museum of Modern Art in New York, the Gala celebrates the very best of contemporary fashion and attendees have only one remit when it comes to dress code: make it fabulous.

Considered the fashion world’s equivalent of the Oscars, the stakes are raised when it comes to putting in an appearance on this red carpet.  Some attendees go for what they know; others like to step outside their comfort zone. This red carpet is perhaps the most interesting to watch as it can yield unexpected results.

As with all red-carpets, there were a few trends that could be pinpointed. The predominant trend this year was short vs. long. Wearing shorter lengths for black-tie events is becoming ever more popular, with shorter hems even seen at this year’s Oscars. The trend was copied by many of the younger attendees, including Blake Lively, Carey Mulligan, Kristen Stewart and Chloe Sevigny.

Shorter hemlines work well with dresses that are high on visual impact, and for Blake and Carey this truism paid off: the detail on their dresses would be too much to handle on a longer dress, but done in short bursts, it’s much more palatable.

Carey even pre-empted two trends in one, by choosing a Miu Miu dress that ticked the boxes for lilac and lace. It may not have been the classic show-stopper that the steps of the Met are traditionally used to, but Carey, with her 60’s style crop, couldn’t have looked any cuter if she tried.

Blake Lively also scored a home run with a cerulean Marchesa dress that was big on impact, short on hem inches. Again, this dress in a longer length would have been overwhelming even for someone of Blake’s height – Marchesa (and Blake) did the smart thing by keeping it short and sassy.

The gamble didn’t pay off for everyone, and Chloe Sevigny’s polo-neck mini from Proenza Schouler is a typical example of Met fashion getting lost in translation. Chloe is one of Hollywood’s most daring actresses and isn’t afraid to try on a difficult trend or two. Some result in moments of fashion magic (like Chloe’s Valentino ruffles at the Golden Globes) but the Proenza Schouler dress was too much even for her. A regular on Best Dressed lists; chalk this up as a mere blip in what is already shaping up to be a very stylish career. Sevigny’s fearlessness gives her the potential to become a modern fashion icon, and even the greats get it wrong once in a while. 

Not everyone went with a shorter length – the word ‘Gala’ automatically suggests formality and formal for lots of women means only one thing: a floor-length gown and the epilator gets the night off.

The temptation with an occasion this big, with so many of the world’s press watching, is to match the occasion stitch for stitch and go with something that sits in traditional ball-gown territory. But luckily for us, Diane Kruger is not most people.

Diane’s sleek Calvin Klein gown is a perfect example of ‘less is more’. In recent years, the motto du jour has definitely been ‘more is more’, with actresses vying to out-do each other on the red carpet. First it was ready-to-wear, then haute couture, then one-of-a-kind haute couture, and then Lady Gaga arrived and made everyone feel hopelessly under-dressed. When everything’s been done – where do you go for something original? You go back to the start, and that’s exactly what Diane Kruger has done. When simplicity is done this well, who needs frills?

While Diane enjoyed the quiet satisfaction of knowing that she would be an automatic stand-out, other stars have built careers on the ‘ta-da’ factor, and turning up in minimalist Calvin Klein would be akin to turning up with a paper bag over their head: they would be unrecognisable.

Back on the circuit after a short career break, Jennifer Lopez has hit the ground running with several noted appearances already.

 

 

Jennifer clearly learnt lessons from this year’s Oscars ceremony where she turned up in futuristic Armani Prive. It was a brave outing, but a step forward that needed a little refining. She has the personality required to wear couture, but her experiment with sci-fi taught her that she’s best suited to feminine designs that work with her curves, and not crowd them. The Zuhair Murad gown was a triumph: the detail was the focus while the body of the gown was uncluttered, unfettered and allowed Lopez to shine. She looked young, fresh and most importantly of all, relaxed: job done.

Also with projects in the pipeline, red-carpet alum Sarah Jessica Parker was born to attend this type of event, and didn’t disappoint in a slinky pleated gown from Halston that blended the line where Carrie and SJP meet. As a nod to the upcoming SATC sequel, there’s few better ways to press home your point. Complete with trademark corsage in the hair, it was SJP par excellence.

Where its fashion with no holds barred, there’s always controversy, and this year, it was served up by Katy Perry. She tried to light up the red carpet in a LED dress that predictably divided the critics. It was a tough dress to wear even without the LED inserts in the bodice, and the amount of hardware on display would be challenging for Lady Gaga, who’s well-versed in the art of merging high fashion with battery packs.

Where this year’s ceremony worked was in the quieter surprises: many girls choosing to wear shorter lengths, Alexa Chung doing tomboy chic, and Tina Fey rocking a jumpsuit (yes you did read that right).

It goes to prove that grabbing headlines is sometimes best left to the professionals. The biggest successes of the night (Carey Mulligan, Diane Kruger, Jennifer Lopez) were not the flashiest sartorial picks, but they were the best.

The tendency with a dress code that literally has no limits is to end up over-thinking it, and that’s what happened at MOMA. Those who got it right, kept it simple.

This event’s theme may have been ‘Fashioning a New Identity’, but as far as this year’s attendees were concerned, letting your personality shine through your clothes, and not vice versa, was the way to go. A night of mixed fortune, it served as a reminder that sometimes the simplest pleasures can be the greatest.

HELEN TOPE

The Emmys always prove to be a rogue element when it comes to the red carpet circuit. Bringing out the best names from film and television, the taste level can range from good to god-awful. This year was no exception. There were some surprises, with more established names outshining Young Hollywood, suggesting that when it comes to knowing your red-carpet style, there’s no substitute for experience.

The 61^st Annual Primetime Emmys is the U.S equivalent of our television BAFTAs, (think ‘BAFTAs with better cufflinks’), it honours the best in not only American television but great television from around the world. The ceremony also sets the tone for the rest of the red carpet events to follow, with the Golden Globes next to come in January 2010.

Years ago, attending the Emmys meant wearing third-rate designers and ill-fitting tuxedos. With haute couture now being standard on Oscar night, the bar has been raised – and then some. Television stars are now aware that their every sartorial move is scrutinised with the same vigour previously reserved for Nicole Kidman. Whether you’re a leading lady with your own comedy show or a newcomer just out of the gates, the pressure is on to come up with the fashion goods. No-one can use the excuse that they didn’t know it was best foot forward.

Someone who regularly gets the memo is Blake Lively. A rising star, Blake’s fame has sky-rocketed thanks to her lead role in ‘Gossip Girl’. Playing a fashion plate on-screen appears to have rubbed off on Blake, who regularly wins praise for her red-carpet efforts.

Wearing racy-red Versace, Blake came out fighting. Choosing to not employ a stylist for the event (a trend that seemed to be quite prevalent among attendees this year), Lively wore a plunging neckline virtually down to her waist. With subtle sequinned shoulder trim on one side, the asymmetric detail kept her look from veering into showgirl territory. Blake showed off the goods, but in a very high-fashion-aware way. Her subtle use of jewellery and hair pulled back off her face also wins points for couture-savvy.

Earlier this year, she was outshone by her fellow ‘Gossip Girl’ Leighton Meester at the Met Ball in New York. While it was Round 1 to Meester, Round 2 is a resounding hit for Lively. This gown, teamed with Blake’s youthful confident swagger, was ‘job done’ for the night.

Another celebrity who chose not to use a stylist was ‘Will and Grace’ alumni, Debra Messing. A veteran of these events, Messing opted for a red Michael Kors dress. Covered in crystals (the LA weather played to Debra’s advantage), the gown was a one-shouldered, column design that showed Debra’s strengths as a card-carrying fashionista.

What looked great on television, however, did not translate in photographs. The shape of the dress was not daring or dynamic enough and had a tendency to read flat and one-dimensional.

 

One of the dilemmas an actress has in selecting a dress for any red-carpet event is whether to dress for her shape, or to nod to the fashion trends of the moment. Do the former and the results are bound to be flattering, but ignore fashion completely, and you’re in danger of being slated, or even worse, ignored. Debra’s previous fashion hits have included an S&M inspired dress that introduced (high) Gothic fashion to America in a good-humoured, palatable way. This year, the gown of choice was inoffensive, but ultimately forgettable.

The red theme continued with Jennifer Morrison from ‘House’ wearing a Japanese-inspired Calvin Klein sheath dress (with asymmetric hem and folded Geisha back detail), and ‘Heroes’ Hayden Panetierre wearing J. Mendel. While always a popular choice (rather than the expected effect of blending into the carpet, red actually makes the wearer stand out), it lacked the punch of previous years. Red hasn’t been seen on the runways a great deal this season, but it remains a firm favourite with red-carpet veterans and those finding their feet. Regardless of where it stands with designers, to the stars, red will always equal glamour.

This year’s Emmys were otherwise notable for their lack of colour. In 2008, the carpet was awash with tropical, sunny shades flown in from the 2009 Spring / Summer runways. The optimistic, cheery colours went AWOL this year with several stars choosing to forego a stylist, and it certainly showed. Many chose gowns within the neutral palette, thinking this would be a safe choice, but nothing could be further from the truth. A stylist may seem like an extravagance, even by Hollywood standards right now, but a critical eye is essential in approaching red carpet dressing. When choosing a paler colour, setting the appropriate tone is everything.

Kate Walsh (formerly of ‘Greys Anatomy’) found this to her cost, when she chose an ice-blue J. Mendel gown ripped straight from the 2010 Spring / Summer runway. At first glance, the gown appears to be a hit, but on closer inspection, the colour drains Kate’s complexion, and the side ruching creates excess fabric gathering on the hips – something not wanted by any celebrity, regardless of how well acquainted they are with their Stairmaster. The dress, although undeniably beautiful, scored poorly with fashion critics because it was just wrong for Walsh.

 

Getting pale colours right is an absolute minefield. Go too pale, and what is a beautifully understated putty shade in the designer’s showroom turns up as dishrag-grey on camera. You have to consider your skin tone and shape very carefully. Pale shades take no prisoners, and being honest with yourself can save blushes later on. Someone who got the balance between show and tell was ‘Mad Men’s January Jones.

As someone used to playing prim Betty Draper, Jones is a couture aficionado who loves dressing up whenever she gets the chance. Wearing a pale pink Dolce and Gabbana corset gown last year, January applied what she learned to approach this year’s Emmys with even more gusto.

 

She went for a pale mint-green Versace gown. The sculpted bodice with clever curves over the hips made Jones’ silhouette streamlined and thoroughly modern. The Aztec patterns on the bodice paired with the soft flowing mermaid skirt made for an unforgettable appearance on the red-carpet. Love it or hate it, there is no forgetting this dress.

While it may not be to everyone’s taste, January Jones shows us the way in which high fashion and red carpet fashion can find a happy medium. Haute couture is notoriously difficult to wear, even for occasions like the Oscars. It is theatrical and grandiose, which should make it perfect for awards ceremonies, but couture works best is when it is designed for the star in question. January’s Versace gown shows us how couture detail can be applied to the red carpet, and look current without being extreme. It is a smart choice that shows January’s fashion know-how (she chose not to use a stylist) and the result is fashion-forward, with notes of pure beauty. If you want a glimpse into how the red-carpet will look in five years’ time, this dress gives you a pretty good idea.

Blush, nude tones also made a keynote appearance on the carpet this year.  ‘Going nude’ is a bold choice for anyone who knows their Balmain from their Balenciaga. A subtle, well-informed choice, these colours tend to work best when used as a backdrop for a staggering, fairytale design with tonnes of embellishment.

 

Rose Byrne applied this principle in selecting her elegant Valentino gown. If this were done in any other shade, it would look like a prom dress gone wrong. The understated chic of the delicate nude acts as a perfect backdrop to the shimmering details scattered across the dress. This is a fairytale red-carpet moment that makes every girl’s heart beat just that little bit faster. This is what the X chromosome was invented for. Girlish sophistication at its best, this chiffon and tulle creation had heads turning.  If you don’t think red-carpet fashion is that crucial to an actress’ career, watch Rose’s star rise over the next six months. After all, if the red-carpet wasn’t that important, these gals would be sat at home in their pyjamas with a bowl of popcorn like the rest of us. Playing dress up may seem like fun, but to these actresses, its serious business. It keeps you in the public eye, reminds directors and casting agents that you’re out and about, eager to work (and looking fabulous, thank you very much).

While there are those who play the game impeccably (I hereby refer you to Drew Barrymore’s glorious moment in Monique Lhullier), there are those who prefer to play the Hollywood game their own way. I call these women ‘the unconventionals’. These women may be a little older than the young blood currently coursing through Hollywood’s veins, but they know who they are, what they’ll compromise and what they won’t.

First Lady of American television, Tina Fey, is the poster girl for unconventional. Look up the word in the dictionary, and you’ll see her picture right there (well, not quite – but it should be). Without doubt the sharpest mind in Hollywood, Tiny is chief writer of ’30 Rock’, a comedy partly based on her experiences working on ‘Saturday Night Live’. Fey is the person on the red carpet who desperately doesn’t want to be there, would much rather be at home with the pyjamas and popcorn, but she has become such a key figure that attendance is now a requirement.

 

This picture may be a brilliant demonstration of how not to pose for a red-carpet photo, but Tina Fey continues to fly the flag for black. Wearing Gucci, Tina bucks the theory that funny girls can’t look the part. With a super-low draped back, Tina’s Gucci moment is a demi-triumph: not quite hitting the high notes of last year’s black strapless gown, but not enough to plant her on a ‘Worst Dressed’ list by any stretch of the imagination. Fey’s devotion to black shows that come rain or shine, recession or boom, black continues to offer a safe route to sophistication for women who don’t have the time or energy to sit through half a dozen couture shows in Paris. Black keeps calm and carries on. It gets its girl through the evening in one piece and if someone spills a drink on it, it’s not a matter for your attorney.

Someone who is unconventional and proud of it is Ginnifer Goodwin. She has cornered the market in ‘best friend’ roles for several years, and finally Hollywood is taking note that this girl should play second fiddle to no-one.

 

 

This appearance on the red carpet is a fuschia-coloured moment of glory. Wearing YSL, Goodwin exudes super-confidence. You couldn’t wear this dress if you were feeling anything less than 100%. The strong heart-shaped bodice creates drama without theatrics: a dress this striking doesn’t need it. Pairing the stand-out colour with soft layering detail on the skirt, this YSL gown is the perfect choice for Goodwin to make a (career) break of it. Her choice is something that’s relevant to what’s happening in fashion right now. Purple, in every conceivable shade, is absolutely on-trend for autumn & winter. It’s a bright, zingy burst of colour: not the overloaded, sugariness of last year, but a more mature and considered approach to mood enhancement. It’s impossible to be glum in purple.

The unusual colours also worked for Julia Louis-Dreyfus who wore a peacock-blue Vera Wang, and Chloe Sevigny who side-stepped fashion entirely, going with a black and white polka-dot chiffon gown from Isaac Mizrahi. These women purposely went against the grain and it paid off – they got noticed, and everybody who played it safe blended into the background. It was a good night to be different.

What was special about this year’s ceremony was the emerging dialogue that seems to be happening between red-carpet fashion and runway fashion. In the past, no-one gave too much thought to what was happening in Milan when choosing a gown for an awards ceremony. Everyone wore Armani, and that was good enough. But as soon as Uma Thurman stepped out at the 1995 Academy Awards in lilac Prada, Hollywood fell back in love with the world of high fashion. Exploring and finding favourites is all part of the fun, but this is still a night out with the boss for these women. Everyone they know is watching them to see how on point they are: are they wearing the latest designer? Is it couture? If not, why not?

The race to be first to get the best dress has almost exhausted the purpose of red-carpet fashion. Discovering fashion should be a deeply personal experience, based on your likes and dislikes, physique and just how brave you’re feeling on the night itself. The ferocious determination to get the best dress of the season has outstripped every other consideration. This year’s Emmys was a timely reminder to those stepping out at next year’s events that maybe the element of competition should be reserved for the awards themselves.

It’s worth remembering that the best red-carpet moments happen when they are least expected. No-one ever won best dressed accolades by flinging on the most exclusive dress available and hoping for the best. Those who stood out this year were the women who took a risk, but stayed true to themselves. These women looked good, felt good, and it showed. They may not be the newest to the Hollywood game, but they sure played it better than anyone else.

HELEN TOPE