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The Oscars remain a premier stage for showcasing haute couture, where extravagant gowns, often priced in the six-figure range, make their rare appearances. In an era dominated by casual fashion trends like sneakers and track pants, the ceremony stands out as a unique event where such luxurious creations can truly shine.
This year’s event, however, offered more than just a display of opulence. It highlighted a dynamic fashion duel between the sleek sophistication of modern minimalism and the timeless allure of the classic Hollywood red carpet style, which often resembles elevated prom attire.
This sartorial showdown can be partly attributed to Ryan Murphy’s influence through his series, “Love Story,” and the lasting impact of Carolyn Bessette Kennedy. The show has sparked a revival of 1990s-inspired minimalism, characterized by monochromatic palettes, slicked-back hairstyles, and a focus on clean, simple lines that once defined cutting-edge fashion.
A fashion battle waged between the brisk modernity of minimalism and the elevated prom dressing that has become the accepted formula for the Hollywood red carpet.
We can thank Ryan Murphy of Love Story and, by extension, Carolyn Bessette Kennedy for this sartorial slugfest, as the show has ignited a craze for the bygone era of 1990s monochromatic minimalism, when slicked-back hair and streamlined simplicity exemplified fashion at its most forward.
Last night the tension between the two camps was palpable.
Elle Fanning, in her strapless custom Givenchy went full on prom princess and seemed dressed for a different event entirely than the one being attended by Kirsten Dunst, who radiated structural precision in her black silk wool tiered Celine gown.
As for who won the war? For me, it was clear – the moment is minimalist.
We can thank Ryan Murphy of Love Story and, by extension, Carolyn Bessette Kennedy for this sartorial slugfest, as the show has ignited a craze for the bygone era of 1990s monochromatic minimalism
Sarah Pidgeon, who plays Bessette Kennedy in Love Story, seen at the Vanity Fair after party
THE BEST
Jessie Buckley
This year’s awards season has belonged to Buckley, whose starring role in Hamnet has vaulted her to global celebrity.
Refusing to stick to one house, she has flexed the muscles of her fashion might and donned gowns from a variety of designers – becoming an early showcase for the red-carpet strength of Dior’s Jonathan Anderson and Pierpaolo Piccioli at Balenciaga.Â
This year’s awards season has belonged to Buckley, whose starring role in Hamnet has vaulted her to global celebrity
Last night she opted for Chanel by Matthieu Blazy. A two tone, two texture scarlet and pink gown that fell to the ground in a sweeping but still navigable train.
With a delicate diamond choker at her neck (also by Chanel) the princess feel was an unmistakable nod to another Oscar princess – Gwyneth Paltrow, whose pink satin Ralph Lauren dress worn when she won the gong for Shakespeare In Love remains iconic.
Renate Reinsve
Red on red is rarely risked but Reinsve, the Norwegian star of A Sentimental Value mustered the bravado. In the midst of a minimalist mania, Reinsve was a masterclass in how to make simplicity scream.
In a crimson red Louis Vuitton column dress with a sharp asymmetric hem, the actress prioritized form and structure over glitzy glam.
Though her magnificent diamond cuff added a touch of sparkle, her decision to forgo any statement earring or over the top necklace was a striking reminder that the best gowns are often the ones with the least adornment.
Reinsve was a masterclass in how to make simplicity scream
Gwyneth Paltrow
Paltrow is Hollywood royalty and what she wears, whether she walks the Oscar red carpet or strolls through the Brentwood Farmer’s Market, is ripe for comment, criticism and copying.
Her decision to ride the wave of the minimalist bandwagon is a prescient sign of what we can expect for trends to come.
Though there was nothing understated in her one-of-a-kind Tiffany & Co. diamond necklace featured three oval fancy vivid yellow diamonds totaling over five carats, her white duchess satin Giorgio Armani Privé column gown was an exercise in elegant restraint and just a touch of the dramatic with a skirt that cutaway to reveal glittering sheer trousers beneath.
Paltrow’s decision to ride the wave of the minimalist bandwagon is a prescient sign of what we can expect for trends to comeÂ
Emma Stone
Stone’s Louis Vuitton dress may have been made entirely of silver sequins, but so delicate were the sparkling discs and so expertly sewn together (it took a reported 600 hours to create) that the impression was of an ethereal shimmer rather than the brash glam often associated with the material.
With its square neckline, cap sleeves and plunging open back, Stone’s silhouette was straight out of a mid ‘90s lookbook.
Choosing only a pair of dainty diamond huggies and an ear cuff that could be barely seen peeking out from under her deep auburn hair, Stone exuded a confidence that needed no blockbuster jewelry or distracting accessories.
It was clear she had taken a leaf out of Bessette Kennedy’s book.
Stone’s silhouette was straight out of a mid ‘90s lookbook
Rose Byrne
If there is one designer who has not fallen under the spell of Bessette Kennedy, it is Jonathan Anderson – the wunderkind Northern Irish designer who has recently taken the helm at Christian Dior.
Flounces, frippery, and exaggerated finery have been the mainstays of his collections thus far, yet for this sweeping creation for Best Actress nominee Byrne he, and she, found a middle ground of this fashion tug of war.
Based on look 35 from Anderson’s Dior couture debut, the black crepe strapless dress with embroidered flowers along the bodice and fishtail hem achieved something unique – both strikingly simple yet stunningly adorned.
Byrne managed something few on the red carpet can – novelty. The point was reinforced by what was arguably the most surprising jewelry selection of the evening – a sculptural necklace featuring a cognac diamond created by James de Givenchy for the under-the-radar but artisan jewelry firm Taffin.
Byrne managed something few on the red carpet can – novelty
THE WORST
Nicole Kidman
A presenter at this year’s ceremony, alongside her former Moulin Rouge co-star Ewan McGregor in honor of the film’s 25th anniversary, Kidman embraced her former showgirl with full the fuss and feathers.
Custom Chanel by Matthieu Blazy, the powder pink silk peplum gown, swathed in crystals and beading, was a throwback to the over-the-top glamour and glitz of the early 2000s.
Kidman seems to have missed the memo that less is more and embraced the eccentricity of a dress that has quite literally used every adornment available.
Kidman seems to have missed the memo that less is more and embraced the eccentricity of a dress that has quite literally used every adornment available
Demi Moore
The worst in dress but best in feathers is the major takeaway from Moore’s dramatically designed Gucci gown.
Encased in iridescent emerald, green peacock feathers, some of which reached almost to her face, Moore’s strapless floor-length fishtail dress obscured any discussion around her possibly too thin frame.
The look was an odd misstep from a woman enjoying a career resurgence and a lurch back in time to an overdone era where opulence meant relevance.
Moore’s strapless floor-length fishtail dress obscured any discussion around her possibly too thin frame
Kate Hudson
No-one channeled last night’s mermaid madness – fishtails and trains abounded – as much as Kate Hudson in her jade green, custom embellished gown by Giorgio Armani Privé.
The bustier top with a dramatic peplum over a figure-hugging column skirt was a Disney princess dream, capped off by 41 carats of rare green diamonds by the Italian jeweler Garatti – estimated to be worth over $35 million.
With her blond hair cascading down one side, Hudson was a universe away from the sartorial simplicity of her fellow nominees.
But clinging to her famous mother whose over-the-top beaded black halter dress might have been sitting in the closet since the late 1980s it’s perhaps not surprising that Hudson seemed so dramatically divorced from the fashion moment.
Hudson was a universe away from the sartorial simplicity of her fellow nominees
Georgina Chapman
No one symbolizes the early 2000s red carpet dressing more than Chapman, whose fashion house Marchesa rode the wave of her ex-husband Harvey Weinstein’s rise and fall.
Resurrected as the plus one of actor Adrian Brody, Chapman is once more front and center on the Hollywood red carpet.
Yet her exaggerated red silk peplum dress seemed stuck in the era of Miramax, where more was more and Oscar gowns were every girl’s exaggerated prom dream.
Chapman’s exaggerated red silk peplum dress seemed stuck in the era of Miramax, where more was more and Oscar gowns were every girl’s exaggerated prom dream
Appearing on stage with the surprise Oscar debut of Anna Wintour, one would have expected Hathaway to be on her A-game
Anne Hathaway
Appearing on stage with the surprise Oscar debut of Anna Wintour, one would have expected Hathaway to be on her A-game.
The black floral embroidered fabric of her custom Valentino couture creation (a house with whom she has a long association) was exquisite but, unlike Byrne who knew how to marry ostentation with sensibility, Hathaway failed to see where to draw the line.
A fishtail hem, a sweeping train, a dramatic wide belt and jaw dropping diamonds (necklace and earrings), each element had merit but, when lumped together, she was lost in a sea of competing embellishments.