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Actor Billy Porter was not the first on the red carpet at the 91st Oscars, but it was the explosion of fashion that marked the beginning of everything. He arrived wearing a black velvet tuxedo shirt designed by Christian Siriano. The dress was deliberately dramatic and captivating. The lush bodice had satin lapels and a corset-shaped belt. The skirt was long and full. It was accessorized with a white shirt with ruffled cuffs and a bow tie with generous dimensions. His extravagance and theatricality recalled the costume created by Bob Mackie for Carol Burnett's famous drawing Went With the Wind.
Oscars 2019: Billy Porter on the red carpet (courtesy of image: AFP)
The dress celebrated individuality and reinforced the two rules of gender She was also extraordinarily well adjusted, which was not easy, as it was an aesthetic blend of a Prince Charming tuxedo with a princess dress. Does this flatter Porter – a man with a lean and toned physique of the dancer? He was practically drowned. But that did not matter. Porter was delighted.
The red carpet, as a phenomenon of popular culture, has been turned upside down in recent years with hashtag campaigns shaking the chair. critics and aficionados of style to care about the tulle and satin parade that represents the best that the international fashion industry has to offer. So many celebrities are the brand's official ambbadadors for design houses. They all use fashion to improve their public image or change the trajectory of their career. Many of them simply appreciate the creativity of fashion. But social justice issues and policies related to the MeToo (hash) movement have swaddled them into a basic black.
This red carpet of the Oscars represented raging fashion. Indeed, it looked a bit like the red carpet of decades ago, before stylists arrived with their sense of detail and impeccable good taste to convince actors that ideas such as shorts Bicycle and back blazers are not deliciously fancy but simply incredibly bad. The Sunday evening brought a glorious fashion: dresses at the waist of a glove, tuxedos that give a dashing look to men and a bady or distinctive woman. There were also ruffles, a bright red tuxedo that did not fit, and sets that seemed to have been badembled at the last minute – most likely in the dark.
But even ensembles that presented an aesthetic challenge had purpose and personality. They only looked like they liked it; they had the intention. At first glance, filmmaker Spike Lee looked a bit like he'd been stained in a purple tub, with the exception of his Golden Golden Air Jordans. His purple madness deserved a point: to honor a black designer and a black musician. His Kool-Aid raisin tuxedo was designed by Ozwald Boateng, the British designer of Ghanaian descent, who became famous after bringing his traditional couture brand to the revered Savile Row. Lee also wore a gold medallion in Prince's honor, whose rendition of "Mary Don & # 39; t You Weep" featured in his Oscar-nominated film BlacKkKlansman .
Oscars 2019: Spike Lee participates in the 91st Academy Awards (Courtesy: AFP)
[19659005] Laura Harrier, one of the stars of BlacKkKlansman wore a Louis Vuitton dress custom-made pale blue, adorned with glbad beads and crystal shards that was distinguished by its manufacture from sustainable materials "green initiative" for the red carpet.
If women tended to put on the red carpet, it was the choice of bright pink – powerful pink.
The list of actresses wearing raspberry and fuchsia tones was long And their dresses range from pure moss to royal grandeur. Linda Cardellini's Green Book wore pink Schiaparelli in a ruffled dress that showed her legs at the front and flowed in a train at the back. Helen Mirren also wore Schiaparelli, but her delicate dress was layered on a layer of translucent pink silk.
Oscars 2019: Linda Cardellini wore a pink ruffle outfit on the red carpet (courtesy of AFP)
Awkwafina wore an iridescent lilac pant tailor with a bowtie blouse by l & rsquo; Canadian team behind DSquared 2. Angela Bbadett chose an asymmetrical fuchsia dress from Reem Acra and Kacey Musgraves floated in pale pink ruffles from Giambattista Valli. The sleeveless dress with its high neckline was one of the most sober dresses of the evening. She avoided high slits and plunging necklines. She revealed no cleavage in the lower back. She was gloriously bulky. And she had the facility to make pockets. But she was hypnotic.
It was not a coordinated statement of political power. This was not an organized statement on a social problem. But in this traditionally feminine hue, there was a statement of power and joy that can be drawn from the very beauty of the designer's manual work. If Porter had his personal fashion moment of one night only, women reveled in their longstanding fashionable relationship. While they were standing on the red carpet and talking about the pleasure of being named, presenting or just being in the room, they also talked about their outfit and their creator. And they seemed perfectly happy to have this conversation.
And it was not just women. The men also talked about their clothes because their sets were worth discussing. Lee was overwhelmed with symbolism. Stephan James was wearing Etro's flawless red velvet tuxedo, which would have been even more dashing if the sleeves of his jacket had been a little longer, his bow tie a little smaller and the collar of his shirt wide enough to hide the detail metallic of this tie. But whatever. He made a good effort on the red carpet.
Bradley Cooper was looking for his best actor in Tom Ford. Henry Golding was fully committed to the formality of the occasion in Ralph Lauren's white tie. And Nicholas Hoult of The Favorite brought a bit of avant-garde flair to the red carpet with a Dior Homme tuxedo that had an extravagance in a trouser belt that swirled around his body like a kind of military flourishing . 19659002] p1k4qqlg "id =" story_image_main "src =" https://c.ndtvimg.com/2019-02/p1k4qqlg_bradley-afp_625x300_25_February_19.jpg "/>
Oscars 2019: Bradley Cooper and Irina Image reproduced with the courtesy of AFP)
