Rrrrrrr!

Claire Danes in VersaceI didn’t watch the Golden Globes. I thought about it, momentarily, and then I decided I couldn’t be bothered. I did spend an hour or so perusing the pictures today though. My overwhelming impression? Just way too much beading everywhere. It looked like a glass bead factory had erupted all over Hollywood. And too much froth. And mermaid gowns. And the worst trend of all? The transparent mini/maxi, which looks nothing so much as though the designer just couldn’t make up his or her mind whether to go short or long. Ugh. Let’s take a pair of shears to these and be done with it.

And the worst trend of all? The transparent mini/maxi …

There seemed to be a great many nude, peach or off-white gowns too. I rather like nude as a colour, although it can be difficult to pull off without looking washed-out. (Note I did not say naked – that’s sorta the point, right?)

Marion Cotillard in DiorWhat caught my eye however was all that rrrrred! These simpler lines are much more appealing to me – they’re like a fresh breeze in that sea of froth, not least because of their striking colour. Although I do prefer the fluid, narrow shapes to the 50s style ballgowns – the positively glowing Claire Danes looks particularly gorgeous – they are all arresting. There were a few darker shades too – garnet (Jennifer Garner and Miranda Kerr) and oxblood (Naomi Watts, Amy Poehler). But if you dare to wear red, make it scorching, I say.

See a comprehensive 75-pic slideshow here.

Jennifer Lawrence in DiorZooey Deschanel in Oscar de la Renta

A Sorry Selection of Sinnamay Sculptures

British Vogue, c.1990; click on image for larger version

What better time to discuss ‘aristohats’ than just a few days after the Royal Wedding? It should come as no surprise to my regular visitors that I love hats – particularly vintage chapeaux. However, I was sorely disappointed in the fare on offer on Friday.

What a sorry collection of sinnamay sculptures! Nearly all of the hats were constructed from this gauzy plant fibre, and the trim – be it feathers, antlers, horns, wriggling tentacles, or gargantuan loops – was almost token. Everyone was wearing virtually the same hat – in a different colour. Boring. And almost EVERY hat was worn dangling from the forehead. What was with that? Did they all have the same stylist?

I found many of the outfits even more of a yawn. What was with all the monotone dressing head to foot? And so many conservative, sensible suits? Boring, boring! Were the guests really – as my friend Lulue suggested tongue-in-cheek – given a sartorial rulebook?

Everyone was wearing virtually the same hat – in a different colour

For all the controversy Philip Treacy’s hat for Princess Beatrice has provoked, at least it seems to have some concept behind it, rather than consisting merely of a sinnamay base, decorated with a bit of trim.

The hats in this page (top) ripped from a British Vogue circa the early 1990s look more interesting – or could it be just Lawrence Mynott’s lovely illustration style that makes them look so gorgeous? (I really like numbers 5, 7 and 8.)

Interestingly at the time this article was written, Philip Treacy was fresh out of the RCA, and the leading British milliners were Frederick Fox, Graham Smith and Philip Somerville. David Shilling states that ‘he designed nothing silly for spring’. But if you can't be silly in spring, when can you be?

Another Naked-Lady-Winning Performance

Scrolling back through the SNAP archives recently, I came upon these photos from my Oscars-inspired story earlier this year. I had another good giggle and decided to share the outtakes and extras with the world.

Give me a long gown, a naked lady statuette to grasp, and a post-production mike, I could (and did) ham it up for hours making tearful speeches and waving my arms about histrionically.

Click on image for larger version

The gown in question – in true Oscar-style – has had only one outing to my cousin Naughty Amelia-Jane’s evening wedding a few years ago. I love its completely backless elegant 30s style. The heavy black satin falls beautifully, and the draped boat neckline folds over the shoulders prettily, giving a little glimpse of plum-coloured lining.

The rhinestone earrings and bracelet are vintage, and came from a long-gone Sydney boutique called, appropriately, The Jazz Garter. A vintage Russian squirrel fur completes the picture.

And that’s a wrap.