WWDSECTION II Oscars

DRESSING THE NOMINEES MONETIZING THE MOMENT REDEFINING RED-CARPET GLAMOUR THE NEXT JOAN OF SNARK Lights, Camera, Fashion! TOM FORD DEFTLY JUGGLES THE WORLDS OF FILM AND STYLE. 2 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWD.COM

Editor in Chief Edward Nardoza Executive Editor, Beauty Pete Born Executive Editor Bridget Foley WWDOSCARS Editor James Fallon Managing Editor Peter Sadera Managing Editor, Special Reports Dianne M. Pogoda Deputy Managing Editor Evan Clark THEY WORE IT, European Editor Miles Socha WE WANTED IT. News Director Lisa Lockwood Deputy Fashion Editor Donna Heiderstadt Sittings Director Alex Badia 30 Senior Editor, Retail David Moin Senior Editor, Textiles & Trade Arthur Friedman Senior Editors, Financial Arnold J. Karr, Vicki M. Young Associate Editor Lorna Koski Bureau Chief, London Samantha Conti Bureau Chief, Milan Luisa Zargani Bureau Chief, Los Angeles Marcy Medina Asian Editor Amanda Kaiser Bureau Chief, Washington Kristi Ellis Senior Fashion Editor Bobbi Queen Associate Editor Jenny B. Fine Senior Editor, Specialty Retail Sharon Edelson Senior Prestige Market Beauty Editor Julie Naughton Senior Fashion Features Editor Jessica Iredale Senior Accessories Editor Roxanne Robinson Senior Market Editor Mayte Allende Eye Editors Taylor Harris, Erik Maza Contributing Editor At Large John B. Fairchild WWD.COM Site Director Michelle Preli Web Editor Roberta Correia Assistant Online Editor Kristen Tauer Social Media Manager Gabriella Calabro MEN’S Senior Editor Jean E. Palmieri Fashion Director Alex Badia Associate Fashion Editor Luis Campuzano Men’s Reporter Aria Hughes MARKET EDITORS Accessories: Lauren McCarthy, Misty White Sidell; Beauty: Molly Prior, Jayme Cyk; Digital: Rachel Strugatz; Ready-to-Wear, Furs and Innerwear Fashion: Bobbi Queen; Ready-to-Wear and Sportswear News: Rosemary Feitelberg; Media: Alexandra Steigrad; Ready-to-Wear PHOTO COURTESY OF EVERETT COLLECTION PHOTO COURTESY and Sportswear Fashion: Kristi Garced; Eye: Ally Betker CORRESPONDENTS London: Nina Jones, Lorelei Marfi l (Editorial Assistant); Los Angeles: Khanh T.L. Tran, (News), Kari Hamanaka (Retail/Tech Editor); Milan: Alessandra Turra (Fashion and News), Cynthia Martens (Business); New York: William Cotto, Tara Bonet-Black, Kelsi Zimmerman (Editorial Assistants), Andrew Shang, Ashley Davis, Milton Dixon, Emily Mercer (Fashion Assistants); Paris: Jennifer Weil (Beauty), Laurent Folcher (Senior Fashion Editor), Joelle Diderich (Senior Business News Editor), Laure Guilbault INSIDE (Web Editor, Europe), Anne-Aymone Gheerbrant (Editorial and Web Assistant) COPY DESK Copy Chief Maureen Morrison-Shulas ARRIVALS 20 MONETIZING THE MOMENT Copy Editors Danielle Gilliard, MONETIZING Maxine Wally 4 BEAUTY AND THE BUCK Does a turn on the red THE MOMENT ART DEPARTMENT The high cost of getting carpet make the cash Group Art Director Andrew Flynn red-carpet ready. register ring? Associate Art Director Sharon Ber PHOTOGRAPHY Photo Director Carrie Provenzano 4 IT ALL ADDS UP 20 WHAT’S IT WORTH TO YOU? Associate Photo Editor Lexie Moreland 20 Assistant Photo Editor Jenna Greene Tracking some of the A few trends from last year’s Photo Studio Manager Eileen Tsuji Photographers: John Aquino, George Chinsee, Steve Eichner,

most-expensive dresses Oscars that caught fire, GETTY IMAGES PHOTO BY and jewels at the and what the power of Kyle Ericksen, Thomas Iannaccone ADVERTISING Academy Awards. the red carpet can mean. Senior Vice President, Group Publisher Paul Jowdy Associate Publisher Pamela Firestone A sketch by International Fashion Director, RMM Media Renee Moskowitz 6 HOW SUITE IT IS 21 COSTUME PARTY Executive Director of International Fashion Brett Mitchell Shoe designers step it up A closer look at the Christian American Fashion and Retail Director Ariel Tensen Lacroix. Beauty Director Carly Gresh for a place on the carpet. nominees in costume design. Fine Jewelry and Watch Category E2Luxe Media Account Executive Christen Cosmas 6 PARTY ON 22 DAY OF THE STYLISTS REGIONAL/INTERNATIONAL OFFICES West Coast Director Jill Biren The big spenders for The dressers who doll up West Coast Sales Coordinator Annie Belfi eld International Director Guglielmo Bava Oscar-night bashes. the stars and the power European Account Director, Italy Giulia Squeri they wield. Account Director, Italy Olga Kouzentsova Senior Sales Coordinator, Italy Emanuela Altimani FEATURES European Sales Representative Marjorie Thomas 8 KATHY GRIFFIN: 24 REDEFINING Advertising Assistant, France Pascale Rajac THE NEXT JOAN OF SNARK? RED-CARPET GLAMOUR ACCOUNT MANAGERS The new host of E!’s Despite some sporadic Brittany Mutterer, Shannon Fitzgerald, Tina Schlissel WWD.COM “Fashion Police” carries fashion hijinks, on-the-spot Digital Media Strategist Cassie Leventhal the mantle of Joan Rivers. audacity is harder than Digital Sales Planner Amy Keiser Plus: Other Contenders, you think. MARKETING/CREATIVE SERVICES Marketing Director Shannon Nobles and Joan’s Gems. P.R. Coordinator Christina Mastroianni 26 WOULDN’T IT BE LOVELY? PRODUCTION 12 BALANCING ACT Executive editor Production Director Kevin Hurley Production Manager Providence Rao Tom Ford on style, the red Bridget Foley shops Associate Production Manager Jill Breiner carpet, his big L.A. show the Paris couture for CONSUMER MARKETING and his next movie project. the actress nominees. Senior Executive Director Ellen Dealy Consumer Marketing Director Peggy Pyle Senior Director, Digital Marketing & Janet Menaker Strategic Development 15 FROM FASHION TO FILM 28 NOMINEE Rx Planning & Operations Director John Cross Artists who’ve made the WWD men’s fashion Senior Online Manager Suzanne Berardi leap quite successfully director Alex Badia Senior Marketing Manager Tamra Febesh FAIRCHILD PUBLISHING LLC from one glamour prescribes red-carpet Editorial Director of Footwear News & Michael Atmore biz to another. looks for the guys. Director of Brand Development Finance Director Devon Beemer Director of European Operations Ron Wilson 16 STARS CROSS OVER 30 THEY WORE IT, WE WANTED IT FAIRCHILD PUBLISHING LLC IS A DIVISION OF PENSKE MEDIA CORPORATION It’s nice to have a fashion or Memorable trends from beauty deal to fall back on. the silver screen.

18 CALLED ON THE CARPET 31 DIRECTOR’S CUT Jay Penske Chairman & CEO When did we start to care? Notable collaborations Stephanie George President & Vice Chairman, Fairchild Media A look back at when the between designers Gerry Byrne Vice Chairman Paul Woolnough Executive Vice President, madness all began. and directors. Business Affairs George Grobar Executive Vice President, Strategy And Operations Michael Davis Chief Of Video Strategy Nelson Anderson Vice President, Creative REDEFINING Stacey Farish Senior Vice President Entertainment ON THE COVER: & Publisher Deadline Nigel Parry RED-CARPET Craig Perreault Senior Vice President, GLAMOUR Business Development photographed Todd Greene General Counsel & SVP Human Resources Tom Ford at his Gabriel Koen Vice President, Engineering London offices. Ken Delalcazar Vice President, Finance Tarik West Vice President, Human Resources Lauren Gullion Director Of Human Resources 24 & Corporate Communications Robb Rice Group Design Director Joni Antonacci Director Of Operations Young Ko Controller Christina Yeoh Senior Program Manager Eddie Ko Director, Advertising Operations Matt Williamson Director Of It Operations & Production Derek Ramsey Senior Platform Manager

4 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWD.COM

WWDOSCARS IT ALL ADDS UP Tracking some of the most expensive dresses and jewels at the Academy Awards. — Kelsi Zimmerman Beauty and the Buck and Lauren McCarthy ● 2014: Sandra Bullock wore an Alexander McQueen gown, priced at THE SKY’S THE LIMIT WHEN IT COMES TO THE COST OF GETTING RED-CARPET READY. BY JENNY B. FINE $40,000, for her best- actress nod for “Gravity.”

FOR AN ACADEMY AWARD CONTENDER — male or female — Slimming: Sure, couture gowns may be made to measure — if ● 2014: Jessica Biel’s the 37 days between the announcement of the nominations and there’s time. But those who need to fit into the gown rather than beaded nude Chanel gown the actual ceremony are a race against the clock, beauty-wise. vice-versa opt for Cool Sculpting, the body contouring laser that (below) was said to be And getting red-carpet ready takes a lot of time — and money freezes fat. But know that for permanent results, you’ll need two worth $100,000. (your studio should foot the bill for the basics like hair and treatments, one month apart. Book now. makeup, but beyond that, it’s not a given.) Cost: $850 an hour. “Everyone is judging you with a Freezing fat not your thing? microscope — literally judging you Grey calls Nonna Gleyzer of Body — and voting on you,” said Cassandra by Nonna her “secret weapon” for Grey, founder of the Hollywood-based whipping body parts into shape. beauty business Violet Grey and wife of Clients like Gisele Bündchen Paramount Pictures Corp. chairman and and Natalie Portman second that chief executive officer Brad Grey. “It’s a opinion. lot of pressure. Anything that will help Cost: $200 per session. you feel stronger in terms of confidence (*Count on at least three per is a good idea.” week for six weeks before the ceremony.) PRE-GAME PLAN: Face Cleansing: Planning a cleanse Skin conditioning: By far the most time- before the big day? Nutritionist consuming aspect of red-carpet Kimberly Snyder makes clients readiness. Dermatologist Amy Wechsler like Reese Witherspoon and Kerry likes as much prep time as possible. Washington swear against salt Botox, she points out, takes two weeks before putting them on her 48- to work and fillers take one week to hour Red Carpet Slimdown plan. settle — and both can cause bruising, a Be sure to leave at least a day

definite Tinseltown taboo. between a cleanse and the SARDELLA DONATO PHOTO BY Cost: Three areas of Botox plus a couple big event. of syringes of a filler like Restylane: Cost: $120 ● 2014: Cate Blanchett’s $2,000 to $4,000. opal earrings from Chopard’s Wechsler recommends treatment Laser hair removal: For the face, “Red Carpet Collection” with the Clear and Brilliant laser to obviously, but don’t forget arms, featured 62 opals (33.03 stimulate collagen production and give hands and the back. carats) and 1.73 carats of a rosy glow. She recommends monthly Cost: $200 to $1,000, depending on diamonds set in 18k white treatments — ideally you’ll have time for body part. gold, worth nearly $200,000. two before the big night. Cost: $500 per treatment. Self tanning: There’s a fine line ● 2013: Charlize Theron between Oompa Loompa and donned an all-white Brows: A unibrow is the arch enemy of golden glow. Amy Rittiner has Christian Dior Haute any red-carpet contender. Anastasia of worked on the likes of Julia Couture gown reportedly Beverly Hills will get brows in shape. Roberts and Gwyneth Paltrow — worth $100,000. In 2014, Cost: $125 both of whom no doubt appreciate she wore a similar silhou- her attention to detail when ette, this time in black, Eyelash extensions: Conveniently located making house calls. from Dior that priced out across the street from Anastasia, Cost: $150 to $300 around $90,000, with Harry Lôngmi Lashes, founded by Vietnamese Winston’s cluster diamond identical twins, is the place to be. THE DAY OF: pendant necklace featuring Bonus: the head massage before every Skin a 31-carat colorless and service. Jessica Alba and Rosie flawless emerald-cut dia- Cost: $330 with founder Daniel Dinh. Huntington-Whiteley trust their mond, valued at $15 million. complexions to Shani Darden, Teeth: That blinding smile isn’t cheap. whose favorite day-of treatment ● 2011: Anne Hathaway Head to Kim Kardashian’s favorite is a light lactic acid peel followed wore a Tiffany Lucida round dentist, Kevin Sands, and expect to pay by LED light therapy. “Just to brilliant diamond necklace about $2,500 for porcelain veneers — per give a glow,” Darden said. “No in platinum, worth an esti- tooth. His signature smile: the 10 and 10, extractions.” mated $10 million. 10 on top, 10 on the bottom. Cost: $300 Cost: $50,000 ● 2011: Amy Adams’ emerald * If that’s too much, a one-hour Hair and Makeup and diamond necklace with whitening session, with take-home kit, is If you’re famous enough to have matching emerald and dia- about $750. a top hairstylist like Jen Atkin or mond secret watch from Cartier makeup artist like Pati Dubroff cost more than $1 million. Hair on speed dial, like, say, Reese Hair color: Does she or doesn’t she? Of Witherspoon or Charlize Theron, ● 2009: Angelina Jolie wore ILLUSTRATION BY SHOUT BY ILLUSTRATION course she does. And if you recognize the going rate is anywhere 115-carat Colombian emer- her by her first name, like Gwyneth, between $3,500 and $5,000. Studios ald drop earrings by Lorraine chances are she goes to Tracey Cunningham of Mèche Salon, have started cracking down on such costs, leaving beauty Schwartz valued at whose most popular pre-event treatment is a gloss so that hair brands to pick up the slack. For a major event like the Oscars, $2.5 million. looks extra shiny under the klieg lights. a top artist can command $8,000 for a brand sponsorship. In Cost: $125 for a gloss to $525 for highlights. return, the brand will expect a certain number of phone and ● 2007: Kate Winslet’s one- e-mail interviews, a complete rundown of the look and products shoulder mint green Valentino Body used and sometimes a TV appearance or two to re-create the gown, worn for her best- Underarms: Never let them see you sweat. Thanks to underarm look for the masses. actress nomination in the Botox injections, they won’t. Be warned: The Botox takes two Cost: $10,000 and up film “Little Children,” was weeks to kick in. worth a reported $100,000. Cost: $2,000 Manicure and pedicure The going rate for a top-tier manicurist like Lisa Logan (she ● 2007: Cate Blanchett Hands: That mani cam is a b----. And what could be less attractive does Beyoncé) is slightly less than a makeup artist — but wore a dark gray, one- than gripping your hard-won statuette with hideous hands? Zap only just. shoulder Armani Privé gown spots and fine lines with a Fraxel laser treatment. Two to four Cost: $3,500 encrusted with Swarovski treatments are recommended. crystals and worth a Cost: $1,000 to $1,650 — WITH CONTRIBUTIONS FROM ANNA DYSINGER reported $200,00. LIVE FROM LOS ANGELES

AUTUMN/WINTER 2015 WOMENSWEAR COLLECTION 2.20.15 AT 7PM PST

EXCLUSIVE CONTENT ONLY AT LIVE.TOMFORD.COM #TFLA 6 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWD.COM

WWDOSCARS

PARTY ON WHEN IT COMES to Academy Awards after- parties, Vanity Fair remains the “golden ticket” in more ways than one. Only the elite can hope to gain access to the event and the A-list celebs and How power brokers there. But even industry leaders from business, entertainment and fashion aren’t guaranteed an invite. Those who want in had better advertise in the Condé Nast-owned glossy — and by “advertise,” the understanding is to commit to at least a page in every issue for the year. Or, you can get chummy with editor in chief Graydon Carter. One year, he gave Diane von Furstenberg and Barry Diller 10 tickets to give to Suite friends. On second thought, Suite maybe advertising is easier. Most major advertisers shell out millions to play. It Is At around $50,000 to $60,000 per page, for 12 months, the total is north of $500,000. But sources say it’s at least $1 million, and many bigger advertisers buy multiple pages during the year. With some 30 to 40 clients scoring invites, Top right: it’s quite lucrative. One Paul insider said Vanity Fair Andrew’s makes 75 to 80 percent of Zenadia its yearly revenue from the pump; party, despite paying for Stuart guests’ hotel, airfare and Weitzman’s other perks. glittery Estimated cost including Nudist private preshow dinner and sandal. screening: $2 million. The title rakes in more cash or ad commitments from smaller parties it hosts pre-Oscar week, like one WHEN CINDERELLA leaves behind a glass slipper at Prince is “the biggest catwalk in the world with such global reach” its business side threw Charming’s castle in the beloved 1950 Walt Disney classic, it that it prompted the company to design a dedicated Awards with Bulgari. eventually leads to true love. But when shoe designers vie for collection that it updates annually. attention on the red carpet, they might indeed see a happy The suites started in the mid-Nineties with the shoe ending or they can be left in the lurch. designers’ godfather, L.A. publicist Roger Neal. While he may Prevailing fl oor-length red-carpet looks often mean the shoes not always have a bevy of A-list designers, he said the suites are never seen. So with footwear houses investing nearly as give invaluable exposure to the little-knowns. much as their ready-to-wear, jewelry or bag counterparts for a In the early days, his aim was to get shoes covered on the coveted carpet callout, they must decide if the return is worth it. red carpet. Stuart Weitzman was a client, but at the time, For a young brand like Paul Andrew, the answer is a Weitzman’s wheelhouse was more the offi ce gal’s go-to shoes. resounding yes. After being named top shoe of the 2014 Golden Weitzman tweaked some styles and got a few credits, but Globes by Footwear News for his Zenadia style worn by Lupita grew frustrated that no one really saw the shoes on the red Nyong’o, Andrew decided to take a suite at the London Hotel carpet. So he decided to make a shoe that couldn’t be ignored, in West Hollywood to promote the brand last month. and thus the Million Dollar shoes were born. “You can’t imagine how much press that generated for us.” They were covered in 62 carats of Kwiat diamonds and had He spent somewhere between $25,000 and $30,000 to rent, staff a platinum last, thanks to the Platinum Guild. It took almost and stock the suite with about 50 pairs of shoes for fi ve days. seven hours to handsew on the 464 diamonds, and as size was Many styles are bedecked in Swarovski crystals, a a concern, they made two pairs — in size 6.5 and 7 — that partnership and detail Andrew sought out specifi cally for “Mulholland Drive” actress Laura Elena Harring wore to the the red carpet. “We see the value of the suite and we will 2002 Academy Awards. do it again. The red carpet is so plugged into social media Weitzman recalled that despite wearing the 76-carat Graydon and the tabloids — we’ve seen spikes of 20 percent after an Archduke Joseph (Habsburg) diamond on her neck, Joan Rivers Carter awards show.” lunged at Harring, demanding that the actress reveal her shoes. ELIAS STEIN BY ILLUSTRATION Case in point: At his fi rst pop-up shop in London, the More than 400 newspapers around the world picked up the InStyle partners with designer said the Zenadia generated about 50 percent of sales. photo of her showing off the shoes. Mission accomplished. Warner Bros. for its Golden Conversely, L.A.-based French Canadian designer Jerome Despite early successes doing suites with his brand, Globes soirée, splitting Rousseau doesn’t feel suites are the right fi t for him. Weitzman has been working with stylists and celebrities the roughly $2 million “We’re really specifi c about who we want in our shoes. directly out of his Rodeo Drive store for the last decade. tab with the studio, an We do hands-on appointments with stylists like Karla Welch, He noted that unlike a dress, if multiple actresses wear a insider said. All InStyle Anita Patrickson, Rachel Zoe, Brad Goreski and Jessica shoe, it seems to give it more carpet cred. He recently scored advertisers are welcome. Paster. This gets our shoes on the right feet,” said the a shot on Jennifer Lopez at the Golden Globes in a thigh-high- “It’s more democratic,” designer, noting it does pay off. cut dress, which is a shoemaker’s Holy Grail: A-list star wears the insider noted. For instance, after putting Paula Patton in white glitter shoe-baring gown. But in the world of Aizza sandals for the recent Golden Globes, he saw “an Weitzman estimated that between the design, production parties, democracy is a uptick in hits on my Web site three times that of the day and size runs of the 21 styles he produces for awards seasons, turn-off. before a shoe is worn on the red carpet. It brings a lot of new it costs well over $100,000, but it can affect sales by increasing Both titles declined to customers to the site who might not just want that style, but to the number of shoes sold fi vefold. That sales spike depends a comment on the cost of be associated with the brand.” lot on whether the interviewer calls out the shoe, a point on their parties. Jimmy Choo has been showing its wares in suites since which Weitzman and Rousseau agree. — ALEXANDRA 2000. Creative director Sandra Choi emphasized the Oscars — ROXANNE ROBINSON STEIGRAD

8 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWD.COM

WWDOSCARS THE BEST Kathy Griffin: OF THE REST For the moment, Kathy Griffin appears to be the queen of red-carpet The Next commentators. But there are other contenders in the wings waiting to swipe her newly settled crown. Joa n of Sna rk? — Erik Maza Giuliana Rancic PUNDITS BE DAMMED — KATHY GRIFFIN HAS GONE The longtime E! news AHEAD AND ANOINTED HERSELF THE NEW “GRANDE DAME personality shares hosting OF COMEDY,” CARRYING ON THE TORCH FOR THE LATE duties with Griffin on the network’s “Fashion Police.” JOAN RIVERS AS THE NEW HOST OF E!’S “FASHION POLICE.” But she’s developed a HERE, SHE TELLS WWD WHAT SHE REALLY THINKS OF following of her own. When GWYNETH, MILEY AND JULIANNE. BY MARCY MEDINA Maria Menounos took over red-carpet duties at the SAG Awards, she was WWD: You’ve said the red carpet They’re holding a Golden clowned on social media by is too boring these days. Globe, but they’re going to fans clamoring for Rancic’s Kathy Griffin: Yeah, I don’t like it. obsess the next day about return. No doubt she’ll I like the imperfection. I like being on the worst-dressed be back for Hollywood’s these stars that are larger than list on a comedy show. biggest night. life but human, and obviously You’ll be OK. PHOTO BY I’m referring to Cher in a Bob JIM WRIGHT Brooke Anderson Mackie headdress holding an WWD: Do you feel pressure to “Entertainment Tonight” is Academy Award. I also like to measure up to Joan Rivers, who was K.G.: More celebs are actually mercy. She openly talked about the granddaddy of all the TV see Gwyneth Paltrow in the both a friend and a mentor? getting the joke. When I started wanting to be in the front row newsmagazines that cover most gorgeous, simple, classic K.G.: Of course I feel pressure, really ripping into celebs in and wanting to befriend all celebrities and the task can’t-miss Lanvin gown and but on the other hand I feel the mid-Nineties, I was not these designers. of hawking “Who are you I like to see her in a little that Joan is getting more getting a great reception and wearing?” on the red carpet naughty [number] that’s too respect posthumously than she I just kept doing it because I WWD: Do you think that fashion has now fallen to Anderson, short for her and she knows got when she was alive — and couldn’t stop myself. Now a overshadows the performance at a TV veteran who formerly it. I think that actresses know deservedly so. Joan talked celebrity will come up to me awards shows? hosted CNN’s “Showbiz they’re now mixing it up with about how [the question] and say, “Just tell me now: Best K.G.: When it comes to the Tonight.” Perky where Griffin what would have been the “Who are you wearing?” was or worst?” and I say, “You have Oscars you’ve got these is prickly, this blonde from Edie Sedgwicks or the Warhol so offensive to people until it to watch like everyone else.” actresses who are like, “Whoa, Georgia has been with the girls, who, in their time, were started putting designers on I really don’t know until I see I have this character to program for two years and kind of like the Kardashians the map. And I think that’s the images myself. My job isn’t address in the interview, but has established a following because no one knew what what great comedic artists do. to decide who’s going to go I might talk about my dress of nearly 50,000 fans on they did but they were They change the landscape a forward in the world of fashion. more than my character.” Twitter just on her own. photographed all the time. little bit. My job is to make the audience Julianne Moore is a great We’re not that different now. at home have a little laugh. example. [“Still Alice”] is a Joe Zee WWD: Do you think the fashion very serious movie and she’s The former Elle magazine WWD: Is anything fair game world is more fickle than Hollywood? WWD: What do you find most talking about Givenchy. To creative director (and as long as it’s funny? K.G.: I’ve noticed that a lot of fascinating about the business me there’s a lot of comedy in Fairchild Media alum) now K.G.: It’s more than fair game. times people take hits because of the red carpet? that. I guarantee you when plies his trade at Yahoo Style It’s my job. I’m from a normal, of what they’re going through K.G.: I’m very fascinated by she was doing that movie she as its editor in chief. He is lower-middle-class family in in their life. Like, if Britney those “ambassadors,” i.e., wasn’t thinking about fashion playing the role once filled Illinois, so I’m looking out for Spears is off the rails, she’s paid to wear the dresses. for one f--king second because on the red carpet by the likes those women. I’m not trying to on the worst-dressed list. If I remember when Renée she turned out an amazing of Lauren Ezersky and Isaac appease the millionaire women Miley has done something Zellweger was the ambassador performance and then the Mizrahi, that of the fashion or the small group of people “Miley” then all of a sudden for Carolina Herrera. They’d movie wraps and it’s like, insider who can comment who are in fashion. I’m thinking she’s on the worst-dressed go, “Who are you wearing?” “F--k the movie! Fashion!” on the gowns sauntering of the actual viewers who are list. And all of a sudden she’ll and I’d be at home going, by with authority. watching with questions like, give a great performance and “Herrera. They pay her.” It WWD: People sometimes forget “What was she thinking? Is it show up in a nice dress and used to be actresses begging that you’ve been in the business Tom + Lorenzo me, or does she look like she’s then it’s, fashion icon Miley to have a dress and now for decades and you know what Once reserved just for wearing a trash bag with a Cyrus! I’ve seen it all come and designers are going, “Please, goes on behind the scenes. television personalities, belt?” Ninety percent of these go and come and go and that’s can you wear mine?” K.G.: I know that process from the red-carpet pundit class celebrities and designers are what inspires me to not give a point A to the red carpet. From has grown to include social very sycophantic and everyone f--k. Truly, Miley can show up WWD: Whom do you most enjoy my experience on “My Life on media stars. This witty is telling them how magical to the Met Ball in the most watching on the red carpet? the D List,” it was me in sweats duo — full names: Tom they look. You kind of need beautiful Zac Posen and the K.G.: In particular I watch the all the time, but when it came Fitzgerald and Lorenzo someone in the Greek chorus next night be wearing duct women who made a conscious time to win two Emmys, it was Marquez — started their to step in and go, “Excuse me, tape on her nipples. So what’s effort to go, “I’m not just an like, “Hi, Oscar de la Renta, first blog in 2006 and came they look ridiculous and here’s the point of saying she’s a actress. I’m going to be a it’s me, Kathy Griffin. Turns to prominence with their why and what’s funny.” No perfect fashion girl who gets it fashion girl.” I was watching a out I’m not on the D-list today, encyclopedic breakdowns of harm, no foul.…You know what right every time? documentary 10 years ago and so I need an A-list dress, and the costume design on “Mad you are getting yourself into Scarlett Johansson had just then I’ll go back to the D-list.” Men.” Now, their quips on when you do a red carpet. My WWD: How has “Fashion Police” done “Ghost World” and was So that whole journey is like a everything from “Glee” to favorite is when the celebrities changed since you officially took meeting a bunch of designers little insider trading that I love the Oscars are followed by get upset after they’ve won. over after the Golden Globes? and throwing herself at their to bring to “Fashion Police.” more than 300,000 fans on Twitter.

The Fug Girls JOAN’S GEMS “I was wondering, is that really George Clooney? I “Under his tuxedo, he’s wearing her bra.” Jessica Morgan and Heather thought for a second it was the guy from the Dos — on Sharon Stone wearing then-husband Phil During her many years on the red carpet, there Cocks, self-proclaimed Equis commercial.” — on “Fashion Police,” 2013 Bronstein’s dress shirt to the 1998 Academy Awards wasn’t a single star who was safe from the late “fashion assassins,” viciously Joan Rivers’ withering fashion commentary. Here, mock celebrity style on the “One day I would like to have my body as slim “Valentino was drunk.” — about Jenna Elfman’s a few of her memorable put-downs. — WWD Staff blog they created in 2008, as Nicole Kidman’s, but I would never want to gown at the 1998 Golden Globes Go Fug Yourself. A cult “Nicole! Come tell me why you wore such an be as tall. Walking down the carpet at the Oscars favorite in the Aughts, now ugly color!” — about Nicole Kidman’s famous in that red dress, she truly looked like a bottle of “Donatella’s dress for Trick or Treat. their sassy commentary chartreuse gown at the 1997 Academy Awards ketchup.” — at the 2007 Academy Awards What in God’s name was that all about?” reaches nearly 100,000 — on Angelina Jolie’s Goth look at Twitter followers as well as “Oy. Madonna, stop it already. You’re 108. “He was up for Best Director in Stupid Clothes.” the 2000 Academy Awards the readers of New York Madonna as a cheerleader? What school did she — on Gus Van Sant at the 1998 Academy Awards magazine, where they go to, Our Lady of Osteoporosis? She looks like “Lady Gaga’s fashion is more all over the regularly live-blog all the she flunked 10th grade 48 times.” “You look like a swashbuckler with money.” place than Larry King at a urinal.” major awards shows and even — on “Fashion Police,” 2012 — to Will Smith at the 2001 Academy Awards — on “Fashion Police,” 2014 New York Fashion Week.

PHOTOS BY NIGEL PARRY WWD WEDNESDAY, FEBRUARY 18, 2015 13 SECTION II WWDOSCARS Balancing Act

TOM FORD RUMINATES ON DESIGN, FILMMAKING, PARENTHOOD, HIS BIG L.A. SHOW AND HIS NEXT MOVIE PROJECT. BY BRIDGET FOLEY

TOM FORD HOLDS YOUR GAZE. While in what you should wear. Ford’s sense of self takes root a well-known book and all the better for that. At this conversation, and definitely while offering “cheers” in surety and a core lack of delusion. In a face-off point at least, he has little interest in taking on ma- in a restaurant. He stares into the eyes of first one with Oscar for international attention, he knew who terial preloaded with audience expectations. He has dinner partner, then another, each time moving would win. changed the title and made considerable revisions to his glass toward the merry clink. The power stare “My show was going to be the morning after the the story. As planned, the film is in two parts, the first might be unsettling, but for the twinge of humor, self- Oscars and how much global press am I going to get?” faithful to the original material, and the second, com- mockery, even, in its intensity. he posed. “Because for two or three days in every pletely new. These days, Ford toasts with water only; he stopped newspaper all over the world, there are [Oscar] pic- “A book is a book; a film is a film,” Ford said. “They drinking a while back. More recently, he ditched Diet tures.” are totally different things. Sometimes things are sub- Coke as well. Whether or not rejecting even the oc- We’re talking in his square, grandly proportioned tle in a book because there’s an inner monologue with casional alcoholic or faux-sugared carbonated in- London studio, a few hours before we will reconvene the character, and turning it into a film, you don’t have dulgence makes Ford physically healthier, it fuels for dinner, then with Buckley. that inner monologue — unless you do, which I don’t his psychological mettle. Discipline and control are The space marries chic and function. The artwork love.… You have to have something personal; you have Ford-ian obsessions. They’ve propelled him through includes a larger Anselm Reyle work in Mylar and to take what speaks to you about a book and amplify an audacious career path: the legendary ascent from “Cockroach Kid,” Jake and Dinos Chapman’s 40-inch that. It’s impressionism, in a way.” SA nobody to international fashion superstar. The ugly sculpture of a human-esque youth with wild eyes and Unlike most directors, whose schedules and dead- dissolution to his Gucci Group tenure. The celebrated, hair, a penis-vagina combo and two sets of legs (he was lines are project-based, Ford must work around an in- told-you-so directorial film debut. The return to fash- moved from house to office lest he frighten Jack), as tractable fashion calendar. His narrow shooting win- ion with men’s wear, an unusual beauty concept, well as impressive furniture such as a Claude Lalanne dow runs from Sept. 15 through December. If for some his own stores and, lastly, women’s. gilded alligator table and Dupre Lafon chairs. But reason the film doesn’t come together in time, his next Now Ford is officially doing double duty, simulta- none of this trumps the sense that work happens here. opportunity is the same time, next year. neously in the early stages of casting his second film, Given that Ford has a Los Angeles-area home and of- “I only need six weeks,” he said, noting that editing a thriller adapted from a novel he refuses to name, fice, that he often dresses people for the Oscars and typi- will be more flexible; he can set up a room in London. while planning his fall fashion show, which he’ll show cally spends two weeks in L.A. immediately following his He shot “A Single Man” in 21 days: “I paid for it myself.” in Los Angeles on Feb. 20. fashion show, this one-time switch seemed a no-brainer. What he will never pay for: the celebrity red-carpet When we think of the fashion-Hollywood fusion, Exactly how it will play out is more open to question. get. “No, I have never paid anyone and no, I wouldn’t,” we think first of the front-of-camera types who have The pragmatic showman in him plays to his audi- he insists, while acknowledging that, “Yes, generally crossed over to fashion rather than those who’ve gone ence with clarity of message. Yet with three weeks to they get it for free if it’s an amazing celebrity.” the other way. Yet more than anyone else, more than go, he’s grappling with exactly what he wants to say. At He typically dresses several men and one woman very committed and talented Olsens and Victoria this point in any season, with the clothes designed and for the Oscars, though given all of the paid brand am- Beckham, certainly more than the myriad celebrities in production, Ford typically takes mental notes of his bassadorships out there, the good ladies are increas- who put their names on projects with varying degrees decisions, examining and questioning the choices he’s ingly difficult to secure. of involvement, Ford embodies that fusion; he could made. This time, he will present to a very different Whether or not he scores a nominee or top present- be its poster demigod. audience than that of a typical show — fashion press er (he’s got something in the works, but in the spirit of He thrives on syncing two careers, each distinct, outnumbered greatly by entertainment press and so- you-don’t-know-until-her-car-door-opens), he accepts yet one sometimes informing the other. (Was there a cial, celebrity and other industry guests — onto which the ongoing importance of this ultimate in product review of “A Single Man” that didn’t list visual splen- he projects very different expectations. placement. dor among its strengths?) The movies allow the com- “This one in particular is haunting me,” Ford said. Still, he doesn’t love that the red carpet has become plete creative control that’s in his nature to crave, but “I’m trying to decide, how does [the audience] affect a feeding frenzy of mermaids, crystal-encrusted nude that fashion ceded to the battery of phone-wielding the show? Do I let it affect the show?” mesh and Charles James homage. Thus, he’s become guests who have themselves become part of the show; He wonders if the Hollywood set will expect a cast- a little more willing to compromise than back in his fashion provides the speed and immediacy he didn’t ing of conventional beauties as opposed to some of Gucci Group days, when he rose to fame on a sarto- know he’d miss until it was gone. the quirkier types to whom he’s drawn. Then there’s rial platform of slick, brash sensuality. Shortly after he “I would go crazy sitting around waiting for this the time factor. To the fashion crowd, a good show is left the group, we had a conversation in which he told movie to be made if it was the only thing I had going invariably a short show. Very short, these days, some- me he’d never do an Oscar gown he didn’t feel was ap- on,” he said. “I guess if I were in Hollywood making times single-digit short. propriately on-brand. Now, though still on that page movies, I might be making more of them.” “Is that enough when people have come for cock- philosophically, he’s less strident. That crossover will be apparent at Ford’s show tails and gotten all dressed up and been standing “It’s different than when I left Gucci,” he noted. “It’s at Milk Studios. After his spring 2011 return to the around for half an hour? They get led to their seat by true, what you end up doing is not what you’d send runway with a genuinely intimate (the word is often someone handsome, and everything is nice and beau- down the runway at all, at all, at all. You mostly try to misappropriate in fashion) show in New York for the tiful. But is it enough? It will be nine, 10, 12 minutes. make sure they don’t look bad, that they look slim.” then-nascent Tom Ford brand, Ford has shown his col- “I think you decide what you want the outcome And that the look somehow reflects the brand iden- lection in London where he, husband Richard Buckley to be,” he continued. “What is my goal? Is my goal to tity. As for the lack of real fashion on the red carpet, and son Jack live, and where he maintains his design worry about the fashion journalists and create some- Ford concurs, but argues that too much fashion — read: studio. The decision to show now in L.A., where he thing that, in their world, is of maximum relevance? silhouettes that don’t suggest the waist — is asking for and Buckley have a home, a beyond-chic Neutra gem, Or is my goal to create something relevant yet also trouble. “You have to have a waist,” he mandated. “You was made for a simple reason. His name is Oscar. successful in the room? I won’t do something that’s can be big, but you need to have a waist that has some- From New York, the first stop of the primary fash- only successful in the room and isn’t relevant. I don’t thing to do with our standard of beauty. Women have ion show circuit, through Paris, the last, the schedule actually know [yet] what the answer is. I’ve already curves, hips, a waist. It isn’t about being thin, it’s about is more or less fixed, save for the small/new/quirky done preliminary casting and I’ve started to think having a waist. And there’s a reason for that. Look at people who meander in and out, particularly in New about the hair and makeup. As it all starts to come to- a photograph against a wall. You can look wide with a York. For brands with any degree of profile, your slot gether, I will find my answer.” head on it, or you can have a human shape.” is your slot. If last season you showed on Monday at One of his considerations is crossover impact, So no fan of the fashion trapeze or haute sack? seven, that’s when you’re slotted in this season. specifically, the impression on actresses in the room Not unless she walks the carpet with her own per- A move by a major (see: Marc Jacobs, from Monday whom he may want to cast in his film. “It’s impossible sonal wind machine — he jumps up to imitate a Pat night to Thursday, fall 2013) generates news, gossip not to think, ‘are they going to be bored?’” he said. Cleveland-esque twirling and gyration — “and then it and twisted knickers. “What are they thinking? Are they going to think, ‘Oh will be, ‘She’s on drugs.’” But this season, Monday at seven wouldn’t work my God, [he has] no taste?’” He’s only half-joking. The red carpet has become for Ford. To be successful in fashion, confidence is a Though Ford won’t discuss title or plot lest he di- a walk of treachery, rife with on-air critics who know must, as well as some degree of ego. For sophisticated vulge secrets too early and bore himself along the way, fashion, on-air critics who don’t know fashion and fashion customers to buy into a designer’s sartorial he provides snippets of insight. He wrote the screen- millions of couch-potato critics, devices in-hand and prescriptives, that designer must himself believe in play himself, finishing it in September. It’s an adap- ready to rant. Ford maintains his actress friends hate the veracity of those prescriptives. This, dear client, is tation of a novel for which he bought the rights, not {Continued on page 14} 14 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWDOSCARS

{Continued from page 13} compromising what I do. I don’t want to not be proud by how underinformed Americans are of the world. the red carpet, and why wouldn’t they? of something with my name on it.” Conversely, he’s moved when visiting New York for “I do not know an actress who likes it,” he said. The word compromise has infiltrated Ford’s conver- fashion events, most recently when he won the CFDA’s “They’re fearful of what’s going to be in reviews that sation, a relatively new addition. He invokes it some- Lifetime Achievement Award last year, to experience wouldn’t have been there 25 years ago. They’re fearful times in passing, and at others, stopping to qualify or the industry’s warmth. of the glam cam. It’s like being on a global game show, explain, lest one infer that he’s relaxing his aesthetic “People like each other [in the U.S.]. You don’t get and it’s horrible. They’re terrified.” standards. He’s not. Rather, he uses the word in the that [in Europe]. Maybe Franca [Sozzani, editor of His advice: “You’re an actress. Play a part. You’re in a context of adjustment; the fashion world today is very Italian Vogue] has done it a little.” movie now, and you’re a major actress stepping out on the different from the one Ford exited in 2004. He’s developed “a nice e-mail friendship” with red carpet and you’re one of the most beautiful women in That took some getting used to. Case in point: the Joseph Altuzarra, after the young designer self-intro- the world. Just play the role. Get out of the car.” pre-seasons. Ford does them but doesn’t show them to duced. On the flip side, perhaps the lack of Euro cama- During awards season, Los Angeles gets its fashion editors. He wants them “to stay a delivery, a really nice raderie heightens the creativity there. In Hollywood, close-up on Oscar night, squaring off against the ready- peacoat, a really good pair of pants. That’s why they’re “No one ever burns any bridges because you’re just to-wear shows for attention and winning. Asked if 60 to 70 percent of the season. Because they’re real.” forming little things all the time. It’s fascinating.” there’s an overall ascendance to L.A. style, Ford drops The obvious inference is that what Ford puts on He singled out one Brit fashion friend, Stella the qualification. the runway is something other than completely real. McCartney, “but we’re real friends.” “There’s an ascendance to L.A.” Yes, he pays atten- Yet in the mid-Nineties, a moment of glorious theatri- Being Ford’s friend means being needled now tion to the work of Hedi Slimane at Saint Laurent — cality from the likes of Alexander McQueen and John and then. At one point, the conversation turns to fur, “everyone does,” though he doesn’t like talking about Galliano, Ford made his name as the consummate spurred by a reference to the breathtaking mink- other designers. (He admits to amusement at specula- commercial designer. For all their steam and editorial trimmed Dior couture dress Nicole Kidman wore tion that arose following Frida Giannini’s departure bravado, his Gucci and Saint Laurent runways fea- to the 1997 Oscars. Ford notes that today, no actress from Gucci that he might return to the house.) He sees tured real clothes. would dare wear fur on the red carpet, yet designers Los Angeles as a bigger picture, a city aging into in- That was then. today show more fur than ever before. teresting, while beckoning all kinds of young creative “I have this issue with fashion shows and reviews “Stella McCartney is showing fur,” he deadpanned, types, those priced out of Brooklyn, to come hither. and press,” Ford explained. “I almost wish I were brave referring in deliberate error to her real-looking fakes “Now parts of Los Angeles are old, parts of it are enough to send down the runway the clothes that I would from pre-fall with prominent outside labels flagging run-down, it’s starting to feel like a real place and not order for friends or [tell people] to buy. I believe in ev- their faux status. “No,” he said, elevating his voice just a set,” Ford explained. “Because it’s really a 20th- erything I send down the runway if Rihanna is wearing and moving demonstratively into the tape recorder. century city, it felt like a set for a long time. It’s devel- it to the Grammy Awards. I believe in it if Miley Cyrus is “I know for a fact it’s real because she’s a really good oping culturally, physically and metaphorically.” going to wear it to [something]. I believe in it if a maga- friend and I’ve seen the pelts.” As for whether he and Buckley would return long- zine is going to shoot it for their androgyny story. I be- But then Ford is an insatiable provocateur. Just term, right now, they’re happy in London, Jack’s school lieve in it if…I am quite torn about that. So how do you as reference to fashion’s most passionate anticruelty situation is all set, but “you never know.” resolve it? I don’t know. It’s not the world I left in 2003-04, advocate results in a fur jest, a question on whether Ford feels very much at home in London, but some where you really could do a beautiful show like I did at developing his jeans business has impacted his own home-grown traits linger. He launched the Tom Ford Saint Laurent and they got good reviews and sold well. I casual look — suede jacket and “perfectly coordinated brand with the goal of making it one of the top five lux- don’t know if that world is still here. Maybe it’s just me.” double-denim” shirt and jeans — leads, as naturally as ury brands in the world. That goal receded a bit after During his fashion hiatus, Ford spent a good deal of day into night, to penis talk. The jeans are doing beau- Jack was born, but now, the burn is back. time in L.A., he made London his base, following work tifully and “I’ve got a TF on my crotch.” “I’m American,” Ford said. “Maybe that’s it — big- tenures in Milan and Paris. A glance downward displays a discreet TF embroi- ger. And I’m from Texas — big, bigger. Why would His long expatriation has provided a perspec- dery on his fly. you not want to be the biggest?” He stops to qualify tive on just how different America and Europe are. Speaking of crotches, it’s less than a week since his own ambition. He wants maximum scale “without He’s shocked by what passes for news in the U.S., Rick Owens showed his men’s collection featuring men WWD WEDNESDAY, FEBRUARY 18, 2015 15 WWD.COM

THE JOURNEY FROM ONE GLAMOUR BIZ TO ANOTHER IS BY NO Tom Ford at work in London. MEANS A SHORT — OR GUARANTEED — TRIP. TOM FORD, WITH FROM HIS OSCAR-WINNING FILM “A SINGLE MAN,” IS ONE OF THE MORE RECENT TRANSPLANTS TO MOVE FROM DESIGN STUDIO TO FILM STUDIO, AND LEGIONS OF MODELS HAVE TAKEN A TURN ON FASHION CELLULOID. HERE ARE FIVE MORE FROM THE RANKS OF FASHION WHO MADE THE LEAP QUITE SUCCESSFULLY TO HOLLYWOOD. TO FILM — DIANNE M. POGODA

LAUREN BACALL Hollywood’s eye and never looked back. The effortlessly chic star who taught When she died last year at age 89, a generation how to whistle started as designers remembered her exquisite a house model in New York’s Garment taste, noting the understated elegance Center in the Forties. Her first job was as she exuded on-screen was the real deal. a showroom model for a dress company “Maybe it’s just a holdover from my owned by Stephen Sondheim’s father. modeling days, when I had to dress to Despite characterizing herself to WWD as the nines whether I felt like it or not,” “a terrible model — I was terrified and she said after becoming a bona fide star, bony,” Lauren Bacall appeared on the “but I just don’t like to doll up for my cover of Harper’s Bazaar in 1943, caught own admiration.”

HALLE BERRY Academy Award winner, Bond Girl, beauty queen — Halle Berry was even named after a department store, Halle Brothers, in her hometown of Cleveland. After winning beauty pageants (Miss Teen All-American, Miss Ohio USA), she became a model in Chicago, pursued acting in New York and broke into Hollywood in Spike Lee’s 1991 “Jungle Fever.” Her Oscar, for 2001’s “Monster’s Ball,” remains the only one for Best Performance by an Actress in a Leading Role awarded to an African-American. Although she was once quoted that modeling was only a “stepping stone” to acting, she’s kept ties to fashion — fronting for Revlon and Versace, developing fragrances with Coty and last year launching Scandale, a lingerie line, at Target. Calling her own fashion tastes “pretty simple,” she said, “I try not to ever overdo it. You won’t see me overjeweled or overdressed. That’s really not my style.”

CHARLIZE JOEL SCHUMACHER THERON Before he headed west to become The South Africa the hot director of such films native won a as “St. Elmo’s Fire,” “Batman local modeling Forever” and “The Phantom of the contest at age 16 Opera,” Joel Schumacher was very that took her to East Coast. The native New Yorker Milan. Charlize was a window dresser at Macy’s, Theron spent a Lord & Taylor, Saks Fifth Avenue few years strutting and Henri Bendel and designed the catwalks clothing for the Paraphernalia throughout Europe boutique along with Betsey Johnson before making her in the Sixties, then relocated to way to the States Hollywood and became a costume in skirts that flapped open to reveal the full monty. While Ford in pursuit of a designer in the Seventies. might have cast different penises and would not have gone the ballet career, which was thwarted by a “I always made money with my eye,” Schumacher said. “You erect route, he admires the effort. It irks him that full-frontal male knee injury. So she continued west to know, people always thought I had style. The difference then nudity is our last taboo. Hollywood and broke into films in 1995. was you couldn’t buy style the way you can today, especially “OK, I’m not going to wear it, but I think [Owens] is an artist She once was quoted as saying, “I’m men’s clothes. There was a small group of people in New York LAURA CAVANAUGH/GETTY IMAGES; MACGRAW BY EVENING STANDARD/GETTY IMAGES EVENING STANDARD/GETTY BY IMAGES; MACGRAW CAVANAUGH/GETTY LAURA in the way that McQueen was an artist,” he said. “As an artistic 50-50 on glamour stuff. I’d rather put who had style, but we all knew each other and we all were sort of statement — equal opportunity objectification.” on a pair of jeans and get on my Harley cheerleaders for each other. Ford gets up from his chair to grab a framed picture from a and act like a guy” — but make no “I actually never really liked fashion,” he added. “I wanted to cabinet. It’s a full-frontal shot from his 2002 campaign for Yves mistake: She works the glam angle, too, be in movies since I was seven.” Saint Laurent M7 fragrance, shot by Sølve Sundsbø. It ran only in and quite successfully. She has been an In Hollywood, in 1971, he interviewed for a job on an indie Europe. When it did, he received a note from Victor Skrebneski ambassador for Dior and the face of its film called “Play It As It Lays.” “I wanted to be a production with a print of a photo he’d taken in 1976. It, too, featured a man J’adore fragrance since 2004. assistant so badly, but the director said, ‘We need a cheap in full-frontal glory, and was shot for a Saint Laurent fragrance. Her relationship with fashion is costume designer and we can pay $200 a week,’ so I did it. I’m a “I’m sending you a photo I did as a bid for their men’s fra- more about “what I really need” than street kid, I knew how to take care of myself.” grance,” Ford quoted the photographer’s missive. “They thought excess, she noted. While discussing Dior, In fact, it was his experience in set and costume design that it was vile and crap” [even though Saint Laurent himself had she told WWD in August, “There are eventually earned him the director’s chair for the coveted and posed naked five years previously]. “Congratulations. You’ve bro- very, very few brands that will be brave highly stylized Batman franchise. ken the male barrier.” enough to really, completely take a step Fashion, he said, “Is an art form, it’s just not as much fun as It’s a subject on which Ford is quite serious. A few years ago, back and not to try and control what is making a movie. I was not a genius in fashion, and I’m probably he penned a piece for British GQ Style, “a really serious article” considered beautiful…[If you want to] not in film, either. Film is the one medium that combines all the for which he interviewed men on the subject of male nudity and ask the question ‘what is beautiful?’ it’s arts in one product and which you hope you have done artfully. photographed them naked, having been assured, he maintains, the life that you lead. It’s the life that all Sometimes you do and sometimes you don’t. God, I’ve been that the photographs would run as-is. They didn’t. Rather, the women lead.” lucky, but we can’t get it right every time.” anatomical offenders were censored artfully. Ford was furious. “We use women’s bodies to sell everything, but we have a weird hang-up about naked men,” he offered. Which brings him full cir- ALI MACGRAW cle back to the merch. “Why not put a TF right here? If people are Think of Ali MacGraw and it inevitably conjures images of preppy chic, going to stare at my crotch, they might as well see the logo.” bohemian prints and the knit cloche from 1970’s “Love Story.” The movie Ford’s natural urge to control his brand’s message extends that catapulted prep-school style from Ivy campuses into the mainstream beyond the TF-embroidered crotch or a casting targeted to a was MacGraw’s big movie breakthrough, but she got her start in 1960 in specific audience. When it comes to his own photos, he knows fashion as an assistant to Diana Vreeland at Harper’s Bazaar, then worked exactly what he wants to project — and it’s not a guy who’s devil- briefly as a fashion model, and at Vogue as a photographer’s stylist. may-care in front of the camera. Our last exchange after dinner “You know, the fashion business is this legendary repository of young girls starts with a request/reminder that for the next day’s photo ses- on their way to getting husbands,” she once said. “I really wanted to work.” sion with Nigel Parry, he not pose too much. Ford’s response: After appearing in several fashion ads, she found her way to Hollywood, “I pose in my sleep.” where the looks she wore on-screen became instant trends. Yet deep down he knows that ultimately, control, like most earth- “She exemplified this great American style,” Calvin Klein told Vanity ly conditions, is fleeting — and not just when it comes to accept- Fair in 2010. “In the beginning, there was that rich-hippie period. But ing the unfortunate effects of Instagram shots on his show lighting. it went beyond that, and her style put her among the greats: Katharine These days, he’s working for more than himself; he’s working to Hepburn, Jackie Onassis, C.Z. Guest, Babe Paley.” build a legacy for Jack. “If he wants it, he can do it,” Ford said of Hard to believe she topped Mr. Blackwell’s Worst Dressed List in 1971. his brand’s still-distant future. “If he doesn’t, he can sell my name.” — WITH CONTRIBUTIONS FROM MARCY MEDINA BACALL PHOTO BY SCOTTY WELBOURNE/JOHN KOBAL FOUNDATION/GETTY IMAGES; THERON BY AMY GRAVES; BERRY BY JOHN AQUINO; SCHUMACHER BY JOHN AQUINO; SCHUMACHER BY BERRY BY AMY GRAVES; IMAGES; THERON BY FOUNDATION/GETTY SCOTTY WELBOURNE/JOHN KOBAL BACALL PHOTO BY 16 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II

WWDOSCARS Stars Cross Lupita Nyong’o Kerry Washington IT’S NICE TO HAVE A FASHION OR BEAUTY DEAL TO FALL BACK ON. BY KHANH T.L. TRAN represents represents Lancôme. Neutrogena.

WHAT ONCE REPRESENTED the pinnacle of an actor’s career has morphed into a stepping stone to achieving another status symbol: the building of one’s own brand in fashion and beauty. As changing economics in the fi lm, TV and music industries affect how entertainers create art and get paid for it, an increasing number of celebrities are using the glint of an Oscar to try their hand at designing clothes and accessories, moonlighting as celebrity ambassadors and transforming into lifestyle gurus. Some got an early start. A prescient Prada picked Ethan Hawke, a supporting actor nominee for “Boyhood,” as well as Miles Teller, the star of best-picture candidate “Whiplash,” for the spring campaign that it unveiled last month. Plus, watching peers snare lucrative beauty contracts has motivated actors not to dawdle with opportunities out of concern that their craft be compromised. While nine years passed between Julia Roberts’ winning an Oscar in the title role of “Erin Brockovich” and making her debut as a global ambassador for Lancôme, Lupita Nyong’o started working with the French beauty brand only a month after she took home the gold statuette last year for her supporting part in “12 Years a Slave.” “Julia was offered, and coveted by, dozens of campaigns prior,” said Steven Lashever, cohead of CAA’s commercial endorsement business, which represents Roberts along with fellow Oscar winners Cate Blanchett and Jennifer Lawrence. “The timing wasn’t right and the opportunity wasn’t right. We matched Lancôme with Julia. It had to be the right kind of relationship at the right time and the right creative.” Nominated for his leading role in “The Theory of Everything,” Eddie Redmayne is considered a prime catch, given his status as a front-runner for the Oscar, past modeling stint in a Burberry ad campaign and penchant for wearing luxury brands ranging from Alexander McQueen and Gucci to Tom Ford and Saint Laurent. “They all have what it takes if they have something different to say,” said Michael Stone, chief executive of New York-based Beanstalk Group, which handles brand licensing for stars like Salma Hayek and Paris Hilton. “The celebrity has to have some unique selling proposition.” As it becomes increasingly diffi cult to fund movies and release albums, celebrities can use their stylish skills to pay the bills. A global ambassadorship can fetch millions of dollars. Rates for apparel licenses can range from 5 percent of sales at a mass-market retailer to 8 percent for a midtier department store to 12 percent for a high-end shop. In social media, a star can receive $10,000 for a one-time tweet to a fan base numbering 600,000 to a million on Twitter, and $20,000 per post for photos distributed to three million followers on Instagram. While many fashion brands will cover travel expenses and gift a stylish getup for a celebrity to wear to a runway show, the lesser-known labels vying for attention might pay between $50,000 and $100,000 for a front-row appearance. Yet, for every successful celebrity-led brand — Mary-Kate and Ashley Olsen’s The Row, Gwen Stefani’s L.A.M.B. and Jessica Simpson’s namesake venture, for instance — many fi zzle. Harvey Weinstein and Sarah Jessica Parker couldn’t muster momentum for Halston Heritage. Still, in both fashion and fi lm, entertainers need to rebound from duds to hits in a jiffy. Weinstein has moved on to reviving the Charles James fashion label. Through a representative at his fi lm studio, the megaproducer declined to discuss Halston Heritage. Parker, who has since teamed with Manolo Blahnik ceo George Malkemus to start SJP, also wasn’t available for comment. Regarding Parker, “we don’t see it as a failure, and for her…it was a wonderful stepping stone to taking an entrepreneurial project and being an executive in a company and launching her shoe business,” said Peter Hess, the other cohead of CAA’s commercial endorsement business, who negotiates deals on behalf of the “Sex and the City” actress. “I do not think it was a ding on her credibility or fashion sense or anything. She looks at it like any artist. They do a fi lm and go on to the next fi lm and next project. That was one project that’s behind her and she’s on to the next project.” The trend for celebrities to take on the roles of fashion entrepreneurs will certainly accelerate. Not content to settle with their Oscars, Gwyneth Paltrow and Reese Witherspoon have launched their own respective lifestyle brands: Goop and Draper James. After all, said Brian Dow, partner and head of branding at talent agency APA, “having your own brand is a status symbol.” And investing outright as Stefani and others have done is an increasingly appealing option to some. Like Stefani, Halle Berry has gone full force into fashion, investing in the 80-year-old Parisian luxury lingerie label Scandale, which made its debut last fall at Target. But in an interview before the launch, Berry was far from taking all the credit. “People have been doing it — Ashton Kutcher, Bethenny Frankel with Skinnygirl, Gwen Stefani with L.A.M.B. — just not everybody has the desire to go into business in this way. You have to really want to do it. It’s time- consuming. You have to work hard at it. Along with the career you already have, it’s another job, if you will, that you’re tackling. Not everybody has the desire to do that, but I’m certainly not the fi rst.” Not to mention Jessica Alba’s two-year-old The Honest Co., which is eyeing an initial public offering with a valuation at just under $1 billion, according to Dow Jones VentureWire. The merits of being a shareholder appealed to Jennifer Aniston, who bought into Boston-based hair-care brand Living Proof in October 2012. “Who doesn’t want to have equity, especially at a company that’s in its beginning stages?” the actress said at WWD’s Beauty CEO Summit last May. Besides her undisclosed fi nancial stake, she also helps oversee brand development, creative marketing and new ideas for the hair products. “It’s fun to be involved creatively from concept to execution, sharing my ideas. After spending 25-plus years in makeup and hair, you learn what works and what doesn’t work, what damages your hair — what you have to mix fi ve products together to achieve.” — WITH CONTRIBUTIONS FROM ROSEMARY FEITELBERG Madonna’s Material Girl. NYONG’O PHOTO BY STEVE EICHNER; WASHINGTON BY STEPHANIE KEENAN; OLSENS BY GEORGE STEPHANIE KEENAN; OLSENS BY BY STEVE EICHNER; WASHINGTON PHOTO BY NYONG’O WWD WEDNESDAY, FEBRUARY 18, 2015 17 WWD.COM

Cameron Diaz is artistic director for Pour La Victoire. Over Blake Lively’s Preserve Web site.

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WWDOSCARS Called on the Carpet

Celine Dion WHEN DID WE START CARING? A LOOK BACK AT WHEN THE MADNESS BEGAN. BY LORNA KOSKI wears Dior backward, 1993. ONCE UPON A TIME, the Academy Awards were a rather innocent event. Barbra Streisand The fi rst were held in 1929, and took place at a private in see-through dinner at the Roosevelt Hotel. The recipients of the prizes were Scaasi, 1969. announced three months in advance. Janet Gaynor wore a sailor look she had bought off the rack at a department store when she won best actress honors for her trio of performances in “7th Heaven,” “Street Angel” and “Sunrise: A Song of Two Humans.” Gaynor later consulted on her clothes with her husband, Gilbert Adrian, a costume designer best known for his work with Joan Crawford. In 1937, German-born Luise Rainer won the best actress award for playing Florenz Ziegfeld’s common-law wife, Anna Held, in the 1936 fi lm “The Great Ziegfeld.” Rainer would win back-to-back best actress awards, for playing the Chinese peasant O-Lan in the 1937 fi lm of Pearl S. Buck’s “The Good Earth.” On the evening of the 1938 Oscar presentation, she got into a big fi ght with her then-husband, the left-wing, ultra-high-minded playwright Clifford Odets. The pair were driving around and around the block where the event was being held. She fi nally went in and accepted her Oscar wearing a sweater dress — and was criticized in the press for her somewhat low-key outfi t. The award also arguably cut short her career, since there was a substantial backlash against the same relatively unknown actress consecutively winning two of the earliest Oscars for best actress in a leading role. Greta Garbo was the favorite that year for “Camille.” (Rainer had the last laugh—literally; she married a wealthy man, publisher Robert Knittel, in 1945 and died late last year just two weeks before her 105th birthday.) Snarky remarks about awards-show fashion thus began early. The Oscars were notable for great looks and less-great ones. There were remarkable fashion collaborations to be seen, such as Hubert de Givenchy and Audrey Hepburn, and Edith Head Grace Luise with Grace Kelly. Kelly, Rainer Then there are the very bad awards-show looks, which often in a everyone seems to enjoy most. in Edith knit Fashion pundit Richard Blackwell’s Worst-Dressed List was Head frock, launched in 1960, and many notable actresses — starting with designs, 1938. Anna Magnani and including Julie Andrews, Sophia Loren, Ali 1955. MacGraw, Meryl Streep, Julia Roberts and many more — found their way to the top. WWD, which created the “Who are you wearing?” query, had Demi plenty of fun skewering red-carpet and other fashion mishaps, Moore’s too. 1989 Audrey Strange and silly outfi ts, such as Barbra Streisand’s 1969, see- bicycle Hepburn in through sequined Arnold Scaasi pantsuit; Cher’s 1986 Indian shorts Givenchy, princess look by Bob Mackie; Demi Moore’s curious 1989 bicycle ensemble. 1954. pants, bustier and brocade pannier ensemble, Kim Basinger’s 1990 white satin ballgown with a half-jacket, which each said she had Janet “designed myself ”; Geena Davis’ 1992 ruffl ed cutaway ensemble Kim Basinger’s Gaynor Björk’s by costumers Ruth Meyers and Bill Hargate; Juliette Lewis’ 1992 self-designed in an swan, cornrows; Celine Dion’s 1993 worn-backward, white Dior pantsuit satin half- off- 2001. and hat — which occasioned so much ridicule that she reportedly jacket, 1990. the- no longer appears on red carpets — and Björk’s startling swan rack dress by Marjan Pejoski in 2001 — which some observers called a sailor fashion foul but, to be fair, was loved by many — fueled the hilarity. look, Red-carpet coverage was transformed in 1994, when Joan Rivers 1929. and her daughter, Melissa Rivers, began reporting live from the scene, taking snarky shots at celebrities, famously saying things to the camera that everyone else was thinking. Rivers once said, “The worst fashion crimes are always the best. Everyone remembers Björk’s dying swan and Moore’s cycling-shorts ensemble. The real crime is not being outstanding. If I really wanted to be noticed, I’d wear the dying-swan thing.” The style ante was upped considerably when Giorgio Armani got into the game in 1989, trying to bring order to the Cornrows proceedings by hiring Wanda McDaniel as his L.A. celebrity on liaison. It worked. Juliette As a journalist for publications including the Los Angeles Lewis, “Herald Examiner” and the “L.A. Times,” and the wife of fi lm 1992. producer Al Ruddy, McDaniel knew most of Hollywood and quickly got Armani on the backs of many top and rising stars. Other designers and fi rms, peddling everything from evening dresses to handbags and jewelry, swiftly followed suit. Conservative looks reigned at the Oscar ceremonies during World War II and the fi rst Oscar ceremonies after 9/11, in the spring of 2002. Now it’s common to opine (and WWD’s own fashion critics do it) that the red carpet has become too dull and too safe. PHOTOS BY GETTY IMAGES PHOTOS BY IN FRANCE,

WHEN YOU WIN AN AWARD, YOU SAY : “GRANDE SOIT LA VIE”

* LET LIFE BE GRAND © 2015 Compagnie Champenoise. Piper-Heidsieck - Ancienne Maison Heidsieck Fondée en 1785, Piper-Heidsieck® Champagne, Imported by Rémy Cointreau USA, Inc., New York, NY. PLEASE DRINK RESPONSIBLY 20 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II

WWDOSCARS Monetizing the Moment

Jennifer DOES A TURN ON THE RED CARPET MAKE THE CASH REGISTER RING? BY LISA LOCKWOOD Aniston

THEY’RE BUZZ-CATCHERS, Q GIORGIO ARMANI: “The red- Q FRANCISCO COSTA, women’s but are they rainmakers? carpet effect exists, and I creative director of Calvin When Halle Berry wore a realized it since my fi rst movie Klein Collection: “The peekaboo gown by Elie Saab, collaboration.” He was a visibility is incredible, it immediately catapulted the pioneer in celebrity dressing especially with the added little-known designer into the for awards shows, establishing immediacy and reach of fashion lexicon. Similarly, a Hollywood outpost during the social media.” When Jennifer Lupita Nyong’o’s red off- season in 1989. “The cinema Lawrence wore his custom red the-shoulder Ralph Lauren and the media in general have gown to the Academy Awards gown or Elizabeth Hurley’s a strong impact on the public: in 2011, the dress “received safety-pin number by Versace People identify with celebrities, a lot of coverage and had a set red-carpet watchers’ who infl uence their choices on tremendous impact on sales. tongues wagging for months. what to wear. The [red-carpet- A dress that is featured on But the question remains to-retail connection] stems the right woman on the red as to whether they actually from the aura associated with carpet is often immediately translate into sales. the star, with which the public requested in store.” As a Designers bask in the spike identifi es. Over the years, result, Calvin Klein recently in brand awareness, and in fact, we have had several introduced a selection of its retailers say there’s a defi nite requests for dresses identical to most successful red-carpet, correlation between a celebrity those on the red carpet, which celebrity-worn styles in its wearing a designer’s gown confi rms that my job, even Madison Avenue store, with and a boost in sales. While the for the stars, is never a style updated fabrics and colors. Amal effect might not be immediate, exercise or an end in itself, but Clooney stars photographed on the is based on a solid and real Q DONATELLA VERSACE: red carpet — images that are idea. After George Clooney’s “Celebrities have always instantly transmitted worldwide wedding, for example, we been part of the Versace life. I Emma — help boost sales of similar registered an increase in think it is a mutual attraction, Stone styles (if not necessarily the requests for three-piece suits something that draws us to exact custom dress) as well as similar to the one he wore each other. When I design the designer’s other products, during the ceremony.” for the red carpet, I always from accessories to fragrances think about the power of the and secondary lines. Hollywood Q NAEEM KHAN: When Stacy individual woman and her events infl uence color, Keibler wore Khan’s black strength of character.” silhouette, jewelry, makeup, halter gown to the 2013 hairstyle and prom trends that Oscars, it became the Q ZAC POSEN: “When a look is resonate long after awards designer’s number-one gown celebrated on the red carpet, it’s season has ended. Sometimes globally. He sold 30 pieces at usually requested by retailers it even sparks a whole new $9,000 per and received nearly as a ‘classic.’ It becomes a staple category — Emma Stone’s 40 inquiries. “The exposure is in their buy. As a consequence, Lanvin jumpsuit or Jennifer great, no matter what, and it we see the demand for that Aniston’s lariat, for example. often translates to sales.” particular style increase not The payoff can be big, only for the current season, but especially if the actor or Q KEN DOWNING, senior also for following ones.” actress wins. “If one of these vice president and fashion celebrities wears the right director, Neiman Marcus: Q BIBHU MOHAPATRA: “For a thing at the right time, it can “The role of celebrity young brand like mine, it become an iconic moment. continues to be an important has strong meaning.” Glenn It’s hard to put a price tag on force in how women see Close, Gwyneth Paltrow and that,” said New York-based themselves. The customer Elisabeth Moss have worn his consultant Robert Burke. walks in with [a picture] and designs on the red carpet, and Bottom line: Designers says, ‘I want this dress — do in a major coup for the Indian could never pay for the you have it in the store?’ ” As designer, First Lady Michelle advertising that kind of global for men’s wear, “As soon as we Obama wore one of his dresses exposure generates. saw white dinner jackets on on a recent trip to India. “It’s Reese Here’s where retailers and the red carpet, they became almost like an ad campaign in Witherspoon designers stand. very successful in our stores.” a magazine. It stirs up visibility

increase of 40 percent in ▼ WINGED EYELINER March vs. February. Lupita Popularized by Olivia Wilde WHAT’S IT WORTH TO YOU? SOURCES: TRIBE DYNAMICS, DIOR BEAUTY Nyong’o last year, cat’s eyeliner had consumers on the hunt for ▼ SHORT HAIR the perfect pencil. Winged WHILE IT’S TOUGH TO tracks overall earned media and new media. The short haircuts sported by eyeliner’s overall earned account for every tube of performance—the dollar value Here, a few of the trends Charlize Theron and Jennifer media performance surpassed orange lipstick or headband of social infl uence, based from the 2014 Oscars to Lawrence sent thousands of $976,400 from the beginning sold as a result of a star on number of impressions, catch fi re, and what the power women to the nearest salon of March to the end of July. wearing it on the red carpet, engagement with the content, of the red carpet can mean. in search of a chop. The Tribe Dynamics, a digital quality of the publisher and — JAYME CYK AND bobs’ overall earned media marketer for lifestyle brands, audience size—in traditional LAUREN MCCARTHY performance amounted to $4.7 Olivia million from March through July. Wilde

Amy ▼ Charlize Adams ORANGE LIPS Plisse Soleil and Macadam) Angelina Jolie, Lupita Nyong’o saw an average increase Theron

and Amy Adams fashioned a in sales of almost 70 ▼ HEADBANDS peachy, orange lip last year, percent, March vs. February Inspired by Lupita Nyong’o’s and following the awards show, 2014. According to Dior, Fred Leighton hair accessory earned media performance for these peach shades saw a worn on the red carpet, the shade topped $477,500 signifi cantly higher average headbands generated some between March and July. increase than the rest of the $3.2 million in earned media Three Rouge Dior peachy Rouge Dior line, where the performance in the three lipsticks (Rendez-Vous, company saw an average months after the show. WWD WEDNESDAY, FEBRUARY 18, 2015 21 WWD.COM

immediately and, later on, if Q LORI HIRSHLEIFER SILLS, owner, you keep on dressing the right Hirshleifers in Manhasset, N.Y.: people, it does the brand good.” Customers often call for “the exact piece” they see on awards Q COLLEEN SHERIN, vice shows. “We get calls about president, fashion director, jewelry from Loree Rodkin and Costume Party Saks Fifth Avenue: Saks’ Kimberly McDonald, and Edie customers are inspired by Parker bags.” red-carpet style, from a color IT’S THE REAL-LIFE APPLICATION FOR THE KIDS WHO LOVED TO PLAY ‘DRESS-UP.’ to a neckline. The new Mrs. Q ELYSE WALKER, owner, Elyse BY KARI HAMANAKA AND LINDZI SCHARF Clooney, Amal, set a trend Walker, Pacifi c Palisades, Calif.: wearing elbow-length gloves Once a trend is spotted on to the Golden Globes. Emma the red carpet, stores often NAILING THE LOOK of a scene’s environment, among explained. “Whereas [if Stone’s sparkly Lanvin see a trickle-down effect over pixie or witch is no small feat. other places. you’re] a fashion designer, jumpsuit at the Globes is also time. “It’s not necessarily This year’s nominees in “I was inspired by the you have to sell the thing providing options for black-tie immediate, but over the course costume design had their colors and texture of the you’re making.” dressing. “It doesn’t have to be of the next year, if so-and- hands full when creating the forest while prepping “Into Still, that hurdle a gown. It can be a jumpsuit so is wearing this plunging looks that helped bring to the Woods.” The older Grimm doesn’t necessarily place or a pantsuit.” Among other deep-V red dress, the customer life stories of a Disney villain illustrations and woodcuts commercial projects off infl uential looks for secondary is a little more confi dent in in “Malefi cent” or a British were my favorite bits of limits for Durran or Bridges, lines: cocktail lengths, wearing the red dress.” Spring painter in “Mr. Turner.” research,” Atwood said. “I did who would consider the right midlength or minidresses; weddings trail awards season, Every costume designer not really look at the play; I opportunity. accessories could mean more and “the two actually work has his or her own process wanted to do something fresh, “Under the right gloves, and jewelry worn in pretty well together.” for capturing a character’s design-wise.” circumstances, I would enjoy unexpected ways, like multiple emotions, or the subtle It’s very much detective designing a commercial rings or brooches in the hair. Q JAQUI LIVIDINI, founder, messages of a scene. work, said Mark Bridges, collection,” Bridges noted. Lividini & Co. brand consultant: For Jacqueline Durran, nominated for his work on “I often think of it as I am Q BROOKE JAFFE, operating “You don’t get sales of that nominated for her work “Inherent Vice.” researching a period and vice president and fashion particular [red carpet] dress. on the period piece “Mr. “I love getting clues from find pieces that are unusual director of women’s ready- You get sales of the knockoffs, Turner,” there was no use of a bunch of different sources and unique. They are often to-wear, Bloomingdale’s: and it infl uences style, and that’s fashion references. and then distilling it down to fresh and interesting, and The jumpsuit, from the red where the business comes from.” “I tried not to look at a character,” he said. could be an inspiration for a carpet, has emerged as an fashion,” she said. “I tried It’s a different process garment for today’s lifestyle alternative to gowns. “It was Q RON FRASCH, operating partner to look solely at paintings from that of a fashion and particular glamour.” a runway trend that became at Castanea Partners and former and at fashion jewelry from designer, who faces the Atwood has already big in contemporary, and now president of Saks: “The play for the period, and to separate pressures of the marketplace, dipped her toes in the water it’s become the new cocktail the brands is the exposure and my mind from my modern Durran pointed out. with a namesake handbag attire.” Bare shoulders have the credibility. It’s a big deal.” perspective.” “My focus as a costume collection sold online. also emerged. “I loved Reese Citing Kate Hudson wearing Others — such as Colleen designer is on interpreting “It is a new endeavor,” Witherspoon bringing back the cutout Versace dress to the Atwood, nominated for her a script and making some she said, “and I am loving that one-shoulder look in designer’s Paris couture show work on Into the Woods — kind of solution that culls the experience.” her white Armani [at the last month, “It was in every drew inspiration from a the thing together,” she Here are the nominees: SAG Awards].” She also cited magazine and on every Web earrings to complement the site. Even if Donatella made it bare shoulder, lariats for [for stores], it’s really a custom plunging necklines and the product tailored to [Hudson’s] COLLEEN ATWOOD color yellow — from Naomi fi gure. But Versace’s name is out “Into the Woods” Watts’ yellow Gucci dress. there in such an important way.” marks Atwood’s 11th nomination. She Q ELIZABETH VON DER GOLTZ, Q ALLEN SCHWARTZ, previously took home senior vice president, general creative director of ABS Oscars for “Chicago” merchandise manager of by Allen Schwartz: (2002), “Memoirs of fi ne apparel and designer Schwartz once had a successful a Geisha” (2005) and sportswear, Bergdorf Goodman: business knocking off red- “Alice in Wonderland” Recent rtw trends from the carpet favorites but got out (2010). red carpet include tulle of it. “Eight to 10 years ago, it insets, open cutouts on really meant a lot more. Today, gowns and dresses, high slits it’s so fast-moving....every in gowns, and interesting month is another awards show. earrings such as ear cuffs and It’s fun to watch, and happens ETHAN MILLER/WIREIMAGE WILDE BY STEVE GRANITZ/WIREIMAGE; BY TY IMAGES; WASHINGTON

hand jewelry. She’s found quickly, so before it makes an SCALI MARTIN CANONERO BY OF FILM FRAME/DISNEY; INC.; MALEFICIENT COURTESY “a few great designers from impression, there’s something watching celebrity dressing,” else. Also, there are more MARK BRIDGES who weren’t selling to retail stars today. They’re coming Bridges, P.T. Anderson’s longtime collaborator accounts, only working with from reality shows, TV and the and “Inherent Vice” costume designer, is up stylists, and are now sold at movie business. You can’t track for his second nomination, having previously Bergdorf ’s. Among them: it all....It’s diluted today.” won in 2012 for “The Artist.” Stephane Rolland, David — WITH CONTRIBUTIONS Koma, Fausto Pugliese and FROM LUISA ZARGANI Lorena Sarbu. AND KARI HAMANAKA MILENA CANONERO Canonero’s work on “The Grand Budapest

BERRY LIPS ▼ Hotel” is her ninth Kerry Washington’s baby bump nomination. Her fi rst at last year’s Oscars wasn’t the nomination and win only thing that had fans talking. came in 1976 for Washington’s berry lips were also in her work on “Barry the spotlight with an overall earned ANNA B. SHEPPARD Lyndon.” That was media performance of more than Work on “Malefi cent” marks followed by “Chariots MERRITT/GETTY HARRISON/GET FRAZER IMAGES; WITHERSPOON AND ANISTON BY $163,400 from March through July. Sheppard’s third nomination after her of Fire” (1981) and BROS. ENTERTAINMENT OF WILSON WEBB/WARNER ERENT VICE” COURTESY Kerry work on “Schindler’s List” and “The “Marie Antoinette” Washington Pianist” was recognized. (2006).

▼ BACK NECKLACES For last year’s Oscars, Jennifer Lawrence followed a style formula JACQUELINE DURRAN she started in 2013: a strapless “Mr. Turner” marks Dior gown paired with a necklace Durran’s fourth worn down her back. It may not nomination. She have been a new look for the star, won the Oscar in but it was a successful one—at 2013 for “Anna least in terms of immediate buzz. Karenina.” She was Earned media performance for back also nominated for necklaces jumped from $1,600 in her work in “Pride February to $10,500 in March. & Prejudice” and Jennifer SOURCE: TRIBE DYNAMICS “Atonement.” STONE, CLOONEY, LAWRENCE, ADAMS AND THERON PHOTOS BY JASON LAWRENCE, ADAMS AND THERON PHOTOS BY STONE, CLOONEY,

Lawrence OF DISNEY ENTERPRISES INC.; “INH “INTO THE WOODS” STILL COURTESY 22 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWDOSCARS Day Of the

StylistsTHE POWERS BEHIND THE (DRESSING ROOM) CURTAIN. BY MARCY MEDINA

THERE’S NO DENYING that stylists are major power players in the Jones noted of the Dior looks she has worn, “It’s just something red-carpet game; they determine which designer dresses end up on that feels right. They are beautifully designed clothes, and I love the Felicity which celebrities. craftsmanship that goes into them.” Jones It’s like many other jobs in the fashion and entertainment industries: Welch piped in, “You’ll be surprised by what she wears to the Oscars.” glamorous-sounding and creative, diffi cult and demanding. And until Welch loves new designers such as Prabal Gurung, which Steinfeld recently, strictly behind-the-scenes and often thankless. wore to the Golden Globes. She also lets her instincts guide her. That changed when last year’s best supporting actress and overnight “Stylists see collections that no one else sees. Most designers have fashion star Lupita Nyong’o called out her stylist, Micaela Erlanger, off-runway VIP things. When Valentino sent a sketch of the black-and- when fi elding questions about her pale blue Prada gown, then went on white dress that Olivia Wilde wore to the Oscars [last year], I just knew. to credit Erlanger via Instagram and Twitter (Nyong’o has more than 1.6 Same with the J.Mendel Elisabeth Moss wore when she won her Globe. million followers). It was the fi rst dress we tried.” “Lupita from the beginning was very quick to credit Micaela. It’s the Ilaria Urbinati, who dresses Oscar nominees Bradley Cooper and fi rst time I’ve seen that happen. And I’ve never seen a stylist catapulted Laura Dern, offered that for clients without designer deals, being to such recognition. Not since Rachel Zoe,” said Bryan Smith of The nominated can be overwhelming. Wall Group, Erlanger’s and Zoe’s booking agency. “It defi nitely pushed “The day Laura got nominated, I got styling to the forefront and illustrated how they help shape a star’s an e-mail from what seemed like every public persona.” designer living about making her a custom “Stylists play a part in ‘image-making’ because they’re creating the gown.” looks that get in the magazines and media. Certainly no fi lmmaker is Fashion houses, especially those going to hire off the basis of a photo, but it’s part of it. If a fi lmmaker without nominees locked into contracts, is looking to be introduced or wants to investigate someone’s work, it seize upon free agents like Dern via their helps to have your image out there beforehand,” said manager Molly stylists. Urbinati is known for letting Madden, whose clients include Best Supporting Actress nominee her clients’ personalities dictate their Patricia Arquette. choices. “You’re not going to see Laura in Designers too, are quick to acknowledge those who help get their a princess gown. She’s more effortless so creations on stars. “I love the stylists. Without them, I wouldn’t be here,” we’re going for a cooler, sexy vibe because said Giambattista Valli at a recent Hollywood dinner in his honor, I want to make sure she looks like herself.” attended by stylists Petra Flannery, Elizabeth Stewart, Karla Welch and Dern said that she chooses to enjoy the Ryan Hastings. dress-up moment rather than stress out. Another red-carpet favorite, Elie Saab, invited nearly every stylist in “I love that Ilaria has an artistic eye. town to a dinner he threw last fall to mark his fi rst trip to Los Angeles. She is brave and bold and likes to have This year’s breakout star and Best Actress nominee Felicity Jones fun, so she’s not focused solely on a is just as candid about her stylist. “I have help, absolutely. I work with reverence toward great designers or who is Karla Welch, who is great. It’s so collaborative,” she noted of their ‘popular.’ She focuses on the art of fashion year-and-a-half partnership. Indeed, Welch, who began working with design and being creative with colors, and Hailee Steinfeld during her Oscar-nominated season in 2011 (for “True in this case, she considers the actor she Grit”), has emerged among a new breed of infl uential stylists who view is dressing. You like to dress for yourself, themselves as collaborators rather than arbiters. especially if you play people different from “I’m not guided by publicists or managers. When you get to a certain yourself. It’s another opportunity to be you, place, you have a trust with your client that’s the purest translation of not the character. Ilaria understands that.” what a stylist-client relationship can be,” said Welch, who has a low-key, As for who foots the bill for styling cool-girl vibe with her cropped hair, ripped jeans and slip-on sneakers. services, it usually falls to the movie “With Felicity, we are true collaborators. We talk about every look and studios, as such costs are part of a fi lm’s we really think out the process. There’s a lot of back-and-forth, which is marketing and publicity budget. Stylists fun and ultimately what you hope for.” can be paid thousands of dollars per Added Jones, “It’s like any organization, where working with good look or event. But, said stylist George people is what you rely on. And those relationships are always so much Kotsiopoulos, “There’s no regulation. better when they understand what you are saying in like, three words.” We’re not unionized. If you are working Welch also likened her job to that of a sartorial guardian. “I’m never with an A-list actress and the studio won’t Ilaria Urbinati not in the room for a fi tting. I’m not going to send a girl off with someone pay, you’re probably going to do it anyway, else and the designer because we are their advocates. It’s the difference because there are other stylists who will do between a regular woman and a runway model. You can see it sometimes it for free.” Laura Dern happen at the Met Ball when you’re like, ‘Oh, the stylist wasn’t involved For many, the cachet of styling an A-list star can be worth the time with that one.’” and costs that come with it — tailoring, assistants and studio space. As far as pleasing everyone, Welch is a realist. “The only thing I say “It’s like editorial work. It’s prestigious but doesn’t pay a lot. That’s to my clients now is, ‘How did you feel when you put it on and walked why you do commercial stuff,” said Kotsiopoulos. “It’s the same reason out the door?’ I don’t care how it felt on a Monday after the reviews Academy Award-nominated directors are doing commercials and came in. If you felt amazing going out, then we achieved our goal. Lists television shows.” are so arbitrary. It’s nice to be on them but it just doesn’t matter to me,” Like their clients, stylists can spin sartorial star turns into other she said. sources of income. Zoe is a crowning example of one who turned a But there must be pressure? “Of course, especially this time around, celebrity dressing gig into a mini fashion and beauty empire (her because the women being honored are such fashion plates. The Oscar businesses include a clothing line, her own styling agency and a blowout dress is pressure because that’s the grand fi nale. You have to map it out chain), but others include Kotsiopoulos, who parlayed onto E!’s “Fashion from the Golden Globes to SAG to BAFTA to the big wow at the end.” Police” for one season and has a deal with Old Navy; Kate Young and And for those who assume that Jones has a deal with Dior: “There’s no her collections for Target and Buffalo David Bitton, and Leslie Fremar contractual relationship at all; we are friends,” said Welch. “They made her a and Fruit of the Loom. Erlanger used her moment in the limelight to dress and she wore it to the Globes but there’s never an obligation. We have a snag a Maidenform deal along with two more Oscar-winning clients, multitude of designers and we gravitated to them.” Jared Leto and Hilary Swank. WWD WEDNESDAY, FEBRUARY 18, 2015 23 WWD.COM

Karla Welch THE TOP 10 (In alphabetical order, and their clients)

Leith Clark: Keira Knightley, Michelle Williams, Kirsten Dunst, Clemence Poesy, Rachel McAdams, Alexa Chung Micaela Erlanger: Lupita Nyong’o, Hilary Swank, Jared Leto, Common, Olivia Munn, Michelle Dockery Petra Flannery: Emma Stone, Amy Adams, Gwen Stefani, Zoe Saldana Leslie Fremar: Julianne Moore, Reese Witherspoon, Charlize Theron, Jennifer Connelly, Ruth Wilson, Nicola Peltz Ryan Hastings: Rosamund Pike, Rooney Mara, Jennifer Aniston Elizabeth Stewart: Cate Blanchett, Julia Roberts, Sandra Bullock, Jessica Chastain, Viola Davis, Amanda Seyfried Ilaria Urbinati: Laura Dern, Bradley Cooper, Ben Affleck, Shailene Woodley Karla Welch: Felicity Jones, Hailee Steinfeld, Olivia Wilde Jeanne Yang: Michael Keaton, Christian Bale, Jamie Dornan, Henry Cavill, Tobey Maguire Kate Young: Natalie Portman, Sienna Miller, Dakota Johnson, Emilia Clarke THE VIP TEAMS IN-HOUSE Along with flagships in L.A., these brands have celebrity-dressing staffers who are on every stylists’ speed dial. Beyond hotel room fittings and house calls, they help curate red- carpet-only pieces and liaise with potential brand ambassadors. Burberry: Marina Plentl Chanel: Annie Meyers-Shyer Christian Dior: Stacey Kubasak Ermenegildo Zegna: Jennifer Washington Giorgio Armani: Wanda McDaniel and Barry Frediani Gucci: Greg Nise Jimmy Choo: Sara Riff Prada: Celine Khavarani Tom Ford: Alexandra Nourafchan Valentino: Katie Goodwin Vivienne Westwood: Rosalind Dean

INDEPENDENT New York-based fashion p.r. agencies with L.A. offices include HL Group, Starworks Group, BPCM, PR Consulting and KCD. Meanwhile, two former fashion publicists have spun off into boutique outfits specializing in red- carpet dressing: La Chambre: Sahar Sanjar Clients: Angel Sanchez, Bibhu Mohapatra, Charlotte Olympia, Elie Saab, Emilia Wickstead, Max Azria Atelier

Alta Moda: Brook Pace Clients: Alberta Ferretti, Emanuel Ungaro, Louis Leeman, Moschino, Reem Acra WELCH PHOTO BY STEPHANIE KEENAN; ALL OTHERS BY GETTY STEPHANIE KEENAN; ALL OTHERS IMAGES BY WELCH PHOTO BY 24 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II

WWDOSCARS Uma Thurman

Redefining Red-Carpet

Jessica Chastain WWD ARCHIVES; SKETCHES COURTESY CHRISTIAN LACROIX AND GIORGIO ARMANI SKETCHES COURTESY WWD ARCHIVES;

▲ Christian Lacroix:

“The simpler, the better.” GETTY IMAGES; ALL OTHERS FROM CHER AND THURMAN PHOTOS BY WWD WEDNESDAY, FEBRUARY 18, 2015 25

Tilda Swinton Cate Blanchette Cher

of an actress. Look at Tilda Swinton, who favors Grecian Lanvin, and the cerebral, sculptural lines of Haider Ackermann. One imagines she wouldn’t be caught dead in a sweetheart neckline. Deciding what to wear ultimately comes down to the actress, said Stewart, said Zee, said Narciso Rodriguez, a modernist with a religious following of red-carpet clients that includes Julianna Margulies, Julia Louis Dreyfus and Rachel Weisz. He dressed Lorde for the Giorgio Armani Golden Globes this year in a believes old crop top and suit. Hollywood glamour “For me it’s about creating is “very hard to a frame for their personality, replace.” for them to shine. That’s really my role,” Rodriguez said. “It’s uncomfortable to see people in awkward dresses that have come off runways. I don’t understand the thinking behind it.” That said, “dressing like Lorde, who has a different take on going to an awards ceremony and taking a risk and looking different, it’s much more exciting than some of the Glamour things you see.” After decades of designing some of the most exquisite, DESPITE SOME SPORADIC FASHION HIJINKS, ON-THE-SPOT AUDACITY IS HARDER THAN YOU THINK. BY JESSICA IREDALE fantastical dresses that some said wore the actress, and not the other way around (Uma Thurman, 2005, railed THE COMPLAINT THAT bemoaned André Leon Talley, advent of social media, literally get more roles,” Then a slight as “Swiss Miss”), Christian the red carpet is too safe, who’s critiqued the red carpet millions fancy themselves backpedal. “I don’t want to Lacroix is feeling for a more too boring, held hostage by extensively for Vogue and been members of the fashion make it quite as deep as that. minimal ethos. “The simpler the dated trappings of old on the receiving end of its police, whether they’re on the At the end of the day, it’s just a the better, since the most Hollywood is as commonplace vitriol, condemned in the press company dime or their couch. dress,” he said. important thing for an actress at Oscar time as Meryl Streep. for styling Jennifer Hudson in a The more vicious and cutting But isn’t that a quaint notion is the charisma on her face, Taste may be subjective, but metallic python bolero over her the quips, the more traction. in this day and age, when whole the spirit, the expression of the staid glamour of awards- brown jersey Oscar de la Renta “It’s a tough world because careers ride on cultivating a smile, the obviousness of show style, the Oscars in dress in 2007. “I still stand by of the intense interest in it,” an image that sets one apart? talent,” said Lacroix. “These particular, is widely accepted the look,” he said. said Elizabeth Stewart, a Looking beautiful is the bottom- qualities only need a second as fact within the fashion You know things have stalled Hollywood stylist whose clients line goal, but looking beautiful skin, grand, not red, not industry, acknowledged when, nearly 30 years later, include Cate Blanchett and and unique is powerful. If gold — in case you get it, the implicitly or explicitly even by Cher’s 1986 Bob Mackie midriff Jessica Chastain, both of whom fashion enthusiasts long for statue has to be visible!” working members of the red and headdress getup still ranks are presenting at this year’s actresses to make more exciting Talley puts more carpet’s complicated economy. atop the list of fondest Oscar ceremony. “So many Web sites choices from a purely aesthetic responsibility on designers, “I think that old Hollywood fashion moments. and forums cover it, you’re point of view, then the actresses whom he thinks should is the very archetype of Granted, Cher is the rare basically appealing to the themselves should want to step push their clients in more glamour, which is very bird willing to show up, abs lowest common denominator. it up for other reasons. Since adventurous directions. diffi cult to replace,” said bare, head festooned with What’s the quote? ‘You can when does it pay to be part of “People need to work Giorgio Armani, a designer feathers (and do it while only please some of the people the pack? with designers and create who practically invented the knocking on 40). To expect the all the time.’” Stewart noted To be an Oscar-caliber something that is totally concept of celebrity dressing. average nominee to rise to that any time she puts a client actress is to court criticism. compelling, riveting, a “To repeat that cliché is like her level of fashion audacity in a column gown, it is always Most want to take risks bit of shock value and reproducing an image that would be unreasonable. In incredibly popular. professionally with the roles entertainment value because everyone can understand and fact, nowadays within the Where there is such a that they choose; why does that it’s TV,” he said. “We’re still manages to make people red-carpet gauntlet driven by confl uence of fame and desire end with their public looking at that show to see dream. Personally, I try to fashion-related questions — money, there is also politics. wardrobes? No one is being who’s wearing what.” change and innovate, because I who are you wearing? And the “You’re talking about an asked to show up strangled by But thinking outside the think it is the right thing to do, suddenly polemic, who did Oscar nominee,” said Joe Zee, a swan (although with 14 years box (or the hourglass or but I always keep in mind that your manicure? — proposing editor in chief of Yahoo Style, hindsight, Björk’s red-carpet column) is harder than it this is what people like.” an ensemble more challenging who covers the red carpet for fowl now stands as a warm, seems. Put on the spot for Put more bluntly, “It’s than an hourglass or column “Extra.” “An Oscar nominee is fuzzy memory for some), but what they would love to see lacking in originality, gown topped with big jewels calling favors. They have agents to move the needle and do it women wear to the Oscars, innovation, fashion- and bigger hair is increasingly and publicists and managers right can mean reaping big with no particular actress forwardness — all of those too much to ask. around them who need the rewards. There are the luxury in mind, just something new words have been lacking for The ruling logic is that public to love them because deals, gaining a higher editorial and fresh, Talley and Zee over a decade. You always actresses fear the fangs of the they’re the ones who are going and endorsement punching both came up with another come away disappointed, ever-growing critical public to fi ll the seats in the theaters. weight. But fashion credibility classic belonging to the other except for one or two people,” and offi cial critics. With the If everybody loves you, you can fuel the artistic persona sex: suits. 26 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II

WWDOSCARS Wouldn’t It Be Lovely? IMAGINE A RED-CARPET WORLD WITH NO BRAND AMBASSADORS. should wear, but, based on their past choices crossed with a hoped-for A world in which actresses collaborated with, rather than were “dressed dash of daring, what one observer would like to see them wear. by,” their stylists. A world in which caustic on-air and vicious online These choices hail from the latest couture runway not only because commentary didn’t lead actresses to, time and again, default to the path haute is the only way to go — no nominee goes off-the-rack to the Oscars; of safety. Imagine a red carpet of real fashion! everyone wears if not the real thing, then de facto couture, made and It’s difficult (and perchance obnoxious) to suggest what other people often designed just for her. But with the fall fashion season just under should wear. But half the fun of the Oscars is in the sartorial speculation way, there’s not enough new ready-to-wear out there from which to and follow-up conversation, even if the latter is too often mean-spirited choose, and the best dresses from prior seasons are by now overexposed. and, from a fashion standpoint, ill-informed, especially when an actress So, with apologies to Prada, Ralph Lauren, Givenchy and more, it would dares show an adventurous side. But with the Paris couture collections indeed be lovely if… recently concluded, here are suggestions not of what these talented ladies — BRIDGET FOLEY

KEIRA KNIGHTLEY “The Imitation Game” A real fashion girl, Keira Knightley is willing to go all in on a look (her short Chanel wedding dress, worn with flats; her divine butterfly Golden Globes dress, also Chanel, with giant winged insect on her wrist.) Now that she’s pregnant, she can experiment all the more with silhouette. Keira, Raf Simons’ pleated, ribboned wonders for Dior are calling your name, right down to their companion sparkle-plenty second-skin boots. Suggestion: Dior’s supersize, superchic triangle.

MERYL STREEP “Into The PATRICIA ARQUETTE “Boyhood” Woods” Patricia Arquette vacillates Meryl Streep is Meryl between embracing her Streep. Whom does she hourglass silhouette and have to impress? Often relaxing the fit just a bit, in recent years Streep’s typically in dark shades. red-carpet efforts have For the Oscars, Arquette telegraphed either should work the curves that she’s genuinely above it all or that with a soupçon of restraint for an elegant, more she wants to downplay her distinctive fashion-forward look. Valentino’s Maria Grazia beauty. Then came the Kennedy Center Chiuri and Pierpaolo Piccioli would surely Honors when she looked beyond gorgeous, recolor one of their splendid white gowns from working the patrician side of the siren the special couture collection they showed in range in royal-blue Paule Ka. For the New York in January. About that sheer skirt: Oscars, she might consider a more languid See-through is runway-and-pop-star-only. All look with a touch of bohemian mystique. good designers know how to line a look. Suggestion: Armani Privé’s graceful Suggestion: Valentino’s white T-shirt-diaphonous

embroidered gray-blues. skirt combo. GIANNONI GIOVANNI GEORGE CHINSEE; ALL OTHERS BY BY GOIZE; WHITE VALENTINO FRANCOIS BY GETTY IMAGES; SERGEENKO BY PORTRAITS WWD WEDNESDAY, FEBRUARY 18, 2015 27 WWD.COM

V ROSAMUND PIKE “Gone Girl” At the Golden Globes, Rosamund Pike bared her not- yet-taut post-baby midriff, triggering a real conversation about beauty and body image. Still, that Vera Wang dress was in Pike’s comfort zone, the skin show softened by the fluid lines of a goddess dress. For the Oscars, she might try a more- constructed take on revealing romance. Suggestion: Ulyana Sergeenko’s folkloric siren gown.

V LAURA DERN “Wild” Laura Dern is a runway traditionalist, favoring body- conscious, nicely embellished gowns in pretty, feminine colors. She looks lovely, but not memorable. With her fabulously lithe model body, she could get away with much more fashion. She’d look amazing. Suggestion: Bouchra Jarrar’s ivory look with artful embroidery and the ease of a T.

REESE MARION COTILLARD WITHERSPOON “Two Days, One “Wild” Night” Reese Marion Cotillard EMMA STONE “Birdman or (The Witherspoon is not afraid Unexpected Virtue of Ignorance)” radiates real. of a difficult Thank God for Emma Stone. She’s It’s a huge silhouette, even loves to take a chance. In doing part of her if, to date, she so, she’s shown tremendous range, appeal. Over has kept her alternating from construction to the years, she has maintained most-adventurous inclinations flou, and moods from ingénue that quality on the red carpet on the down-low for the Oscars. charming to ultrachic. She could while upping her glam quotient. Elsewhere, she experimented practically close her eyes, point to one of Karl While she’s shown an affinity with some of Raf Simons’ most Lagerfeld’s Chanel beauties and look as if she were for short dresses, she hasn’t challenging Dior shapes. She’s got born to wear it. gone there for the Oscars — yet. the body and the brass to rock a Suggestion: Chanel’s flowing shirtdress over shredded, A short dress with no waist is tummy-baring look. embroidered faux tweed. probably a long shot, and the red Suggestion: Karl Lagerfeld’s boots are definitely too much exquisitely embroidered for prime time. But if she’s at flamboyant pink midriff ensemble FELICITY JONES “The Theory of all superstitious, Witherspoon for Chanel. Everything” wore Dior when she collected her It’s difficult to get a handle on Oscar for “Walk the Line” in 2006. Felicity Jones’ innate style, as she Suggestion: Dior’s lavishly has shown tremendous range on the embroidered modified midcalf red carpet. Whether that indicates sack dress. a genuinely adventurous spirit or indecision, it’s hard to say, but she’s definitely a young woman who can carry off a little eccentricity, particularly when it swings storybook romantic or good-girl tough. And she’s not afraid of a sleeve. Suggestion: Giambattista Valli’s houndstooth party dress.

JULIANNE MOORE “Still Alice” It seems that Julianne Moore has upped the embellishment quotient of her red-carpet selections, most recently at the Golden Globes, when she dazzled in feathered silver Givenchy. This might be the time to trade up to gold. It is Oscar’s color, after all. Suggestion: Valentino’s intri- cately wrought gold gown. 28 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II

WWDOSCARS Nominee Rx WWD MEN’S FASHION DIRECTOR ALEX BADIA PRESCRIBES LOOKS FOR THE MEN VYING FOR ACTING HONORS, AS WELL AS HOST NEIL PATRICK HARRIS.

Edward Norton “Birdman or J.K. Simmons (The Unexpected Virtue of “Whiplash” WHEN IT COMES to Ignorance)” J.K. Simmons red-carpet dressing Here is a nominee that, by is already during awards altering a few small tailoring on the way season, men’s wear details, can switch from “No,” to becoming can be compared to “Go.” As much as we love an elegant to women’s soccer: a fashion makeover, here it’s gentleman. not really needed. Norton The nicely always entertaining always opts for comfort versus tailored and fun, but not the fashion, and his approach to notched-lapel main attraction. easy tailoring might work for tuxedo paired Once the strapless a friend’s wedding but not with silk tie gowns and diamond for Oscar night. He has been that he has earrings are put wearing nice Calvin Klein been wearing tuxedos that feel a little too this season aside, however, a slouchy and relaxed, and he is a great whole universe of obviously loves to pair them beginning. satin peak lapels, with a simple black tie with a No need white shirts with four-in-hand knot — which is to go too Marcella piqué great but a bit uninspiring, to “fashiony,” fronts, silk bow ties say the least. so a heritage When faced with a fashion- American and all the other risk-adverse nominee, it’s best brand like classic, formal details to stay close to home, so we Brooks Brothers emerges from the suggest a Calvin Klein black would be an shadows. tuxedo — but opt for a much ideal choice. The midnight-blue tux will work White tie is the sharper silhouette with strong perfectly with his piercing blue eyes, and a sleek most appropriate shoulders, and pair it with a bow tie would help frame his face. Attention needs attire to complement sleek bow tie and maybe even to be paid to the neck sizing of the shirt, as he a hint of a pocket square. And has been wearing them too big. The ultracropped long evening if he really wants to go all-out, haircut he sported at the Screen Actors Guild dresses, but that he might consider slicking his awards is extremely flattering and needs to be the ship has sailed for hair back — a major runway cut of choice for Oscar night as well. He should most guys. Tuxedos trend this season. And Mr. consider, in following seasons, growing a beard and are as formal as Norton, please remember: no channeling Sean Connery: A James Bond white Hollywood gets these pain, no style gain. dinner jacket might be in Simmons’ future. days. Following the traditional guidelines for classic tuxedo Robert Duvall Steve Carell “Foxcatcher” dressing should be “The Judge” It is an interesting time for Steve Carell. He has been Today the fashion aging gracefully and the first hints of salt-and-pepper easy, but leading world loves maturity — hair and stubble are only adding to his sex appeal. This men and their egos just look at the Céline season, Carell has been wearing very traditional, by-the- aren’t generally and Saint Laurent ad book evening looks that include one-button peak-lapel known to follow campaigns this season. tuxes paired with hidden placket white shirts and simple the rules. Instead, Robert Duvall can bow ties. Channeling Hollywood’s Golden Era with the willingness to take be next. But for that likes of Cary Grant would boost his style quotient and to happen, a couple push him to the next level. Let’s hope there’s room for calculated risks and of things need to one more George Clooney. He should consider adding a having a sense of change. First, no more hint of a pocket square and shirt studs to complete the their own personal wearing the same old-glam look for Oscar night. And if he wants to go wild, style are the key tuxedo everywhere, maybe even a white boutonniere. ingredients that and second, opt for a can turn the red brand that is within carpet from a his comfort zone. In this case, a double- fashion minefield breasted peak-lapel into the ultimate Ralph Lauren tuxedo style show. with a strong shoulder Here’s a closer look will make him stand at this year’s Oscar out at the awards nominees and the ceremony and let everyone know he can show host, with some also be a style figure. tips on how they Remember 82-year-old can find the perfect Christopher Plummer look to make them in his winning velvet winners — at least on smoking jacket? Age the fashion front — means nothing when style dominates and for Hollywood’s when Balmain comes biggest night. calling, we hope Mr. Duvall will remember us. WWD WEDNESDAY, FEBRUARY 18, 2015 29 WWD.COM

Eddie Redmayne Mark Ruffalo “The Theory of “Foxcatcher” Everything” No stranger Eddie to style, Redmayne Mark Ruffalo is the most surprised the fashion-forward fashion crowd of the male last year by nominees and wearing a his red-carpet sleek, navy appearances one-button have always Lanvin attracted the tuxedo with most attention black satin from the peak lapels, fashion crowd. matching He’s scored bow tie and several style black patent hits, starting leather with his “Les oxfords. Miserables” Since then, days when he he has expanded his range by choosing brands opted for a like Dior Homme. We suggest he continues couple of jewel-colored Burberry velvet tuxedos. This season, he his style journey by wearing a three-piece, has shown his wide style range by wearing Prada, Ralph Lauren, double-breasted Brunello Cucinelli tux Tom Ford and his biggest hit to date, a Gucci velvet smoking with a shawl lapel vest and black studs. tuxedo. He could stay there and still be a winner, but we think To complete the look, he should consider he should take a bit more risk by opting for a midnight-blue growing a mustache and embrace the fact Burberry tuxedo with contrasting black satin peak lapels, paired that he is the modern-day Burt Reynolds. with an emerald pleated shirt and understated black bow tie. He should consider skipping the mousse and diffuser, since the products make his hair look too much like a bird’s nest. Michael Keaton Bradley Cooper “American Sniper” “Birdman Bradley Cooper has no problem dressing like a movie or (The star. An avid Tom Ford fan, last year he dominated the Ethan Hawke “Boyhood” Unexpected red carpet with a great array of wide peak-lapel tuxedos Ethan Hawke is a risk- Virtue of worn with perfect hand-tied silk bow ties. This season, he taker. He looks great in Ignorance)” seems to be favoring British designers like Thom Sweeney designer clothes and There is a and Alexander McQueen. In the same vein, we suggest a we hope he knows before and Dunhill ensemble. A white peak-lapel double-breasted it. Last year at the after when dinner jacket will only enhance his heritage for old Oscars, he ruled the it comes Hollywood style and continue the white blazer trend that red carpet with the to Michael gained momentum last year with Matthew McConaughey perfect skinny shawl- Keaton. Long and Jared Leto — only this time it will be executed lapel Dior Homme gone are the properly. We loved his cropped haircut and clean-shaven tuxedo paired with a days of the face from last year, so we also suggest a trip to the barber. silk, slightly oversize slouchy, not- bow tie. Also, the well- too-flattering executed crew cut tailoring from and lack of facial hair the beginning Benedict Cumberbatch “The Imitation Game” helped the 44-year-old of the season. Personal style goes a long way with Benedict look better than most Most re- Cumberbatch. His well-fitting suits, easy elegance and men half his age. cently, he’s lack of a professional stylist — or so he says — make He has continued shown a much him a perfect candidate to become a fashion darling. his winning younger and Although he is rumored to wear mostly British Savile relationship with the improved self. A refreshed-looking face is NNONI Row tailoring such as Spencer Hart, we suggest a more French brand this being paired with better eveningwear, a form- extreme version of himself with a skinny, retro-inspired season, but has yet fitting — a bit too tight for our taste — Paul Saint Laurent tuxedo paired with an ultranarrow tie. to reach the level of Smith tuxedo with grosgrain thin shawl lapels When it comes to shoes, he should opt for a regular sartorial splendor and jetted pockets. To continue his youthful patent leather brogue instead of the three-inch heeled

from last year. We renaissance, we suggest a look in midnight GIA GIOVANNI OR BY boots that were shown on the runway. With or without suggest he don a blue with a peak lapel and a generous silk high heels, he feels very Saint Laurent, so if the acting gig Dior Homme tuxedo black bow tie. The Hunstman tux silhouette is doesn’t pan out, maybe he can strut the catwalk for Hedi. directly from the body conscious but falls elegantly — no need runway that would work with his boyish looks and elevate his for a Batman suit. He also might consider fashion presence even higher, if that’s possible. He is, after all, wearing reading glasses to conceal the the Prada ad campaign model this season and in the fashion suspiciously “too fresh” look of his face; and world, that means pure heaven. he needs to be careful with the self tanner.

Neil Patrick Harris (host) Neil Patrick Harris is in a league of his own. He is a great host and never takes fashion too seriously. His range is unbelievable — he looks as good in a white-tie runway look from Thom Browne as in a totally traditional shawl-lapel Tom MICHAEL OCHS ARCHIVES/GETTY IMAGES; DI BY LECTION; CARY GRANT Ford tuxedo with bow tie and shirt studs. It’s worth mentioning that he wore dark-blue nail polish to the Tonys and pulled it off. That night, he won for best performance in “Hedwig and the Angry Inch,” so if he wants to wear makeup, he should go for it. With that kind of attitude, the world is his oyster — so we suggest that for Oscar night, he use Bugs Bunny as the inspiration for the opening number and closing remarks. In between, he can revisit Tom Ford and go for a retro, groovy Sixties tuxedo from the fall collection. After all, fashion is supposed to be fun — so thanks, NP. RED-CARPET PHOTOS BY GETTY IMAGES; BUGS BUNNY COURTESY EVERETT GETTYRED-CARPET COL IMAGES; BUGS BUNNY COURTESY PHOTOS BY 30 WWD WEDNESDAY, FEBRUARY 18, 2015 SECTION II WWDOSCARS They Wore It, We Wanted It HOLLY’S LITTLE BLACK DRESS, ANNIE’S BAGGY KHAKIS, BONNIE’S JAUNTY BERET, TONY’S WHITE POLYESTER SUIT. THE CLOTHES WORN BY SOME OF MOVIEDOM’S MOST MEMORABLE CHARACTERS HAVE HAD AUDIENCES RUSHING TO REPLICATE THE LOOKS FOR THE PAST 75 YEARS. BY DONNA HEIDERSTADT AND MARCY MEDINA

THE FORTIES “Rear Window”: Whether she was leaning in, resplendent in a black-and-white tulle gown, to kiss a slumbering Jimmy Stewart or pulling a satin negligee from a stylish Mark Cross bag, Grace Kelly’s turn as lithesome fashion consultant Lisa Fremont in Alfred Hitchcock’s 1954 thriller was mesmerizing. No binoculars were necessary to spy on this haute, Edith Head-designed wardrobe.

THE FIFTIES

“The Philadelphia Story”: She rarely wore skirts off camera, and in the first scenes of this 1940 romantic comedy, style rebel Katharine Hepburn donned a pair of Adrian-designed tailored trousers. Playing Philadelphia socialite Tracy Lord alongside Cary Grant and Jimmy Stewart, the feisty actress helped usher in a new fashion era for women — one in which getting dressed one leg at a time was no longer taboo.

“Love Story”: From “Hello, Preppy” to “Love means never having to say you’re sorry” — an Ivy League setting, and THE SEVENTIES beautiful, young, dying Jenny Cavilleri wearing an adorable knit hat — this 1970 tale of opposites attracting and then facing tragedy was guaranteed to start a trend. Starring Oscar nominees Ali MacGraw as the working-class Jenny and Ryan O’Neal as aristocratic Oliver Barrett IV, the movie catapulted wool peacoats, plaid skirts and striped scarves into the fashion stratosphere, setting in motion waves of preppy style to come.

“Annie Hall”: When Woody Allen’s neurotic comedian Alvy Singer first meets the title character of his Oscar-winning 1977 film, played by Diane Keaton, dressed androgynously in baggy khakis, a men’s dress shirt, a vest, a tie and a fedora, she takes him for a madcap spin in her VW Super Beetle convertible — and the fashion world went along for the ride.

“Saturday Night Fever”: From his Bee Gees-beat strut to his scene-stealing dance moves, John Travolta as Tony Manero rocked skintight polyester pants, silky Qiana shirts and gold chains in 1977’s other seminal fashion film. This grit-meets- glitter tale not only launched the disco trend, but Travolta’s unbuttoned gyrations gave it worldwide exposure.

“Pulp Fiction”: “Almost Famous”: In THE NINETIES As Mia Wallace in this 2000 Cameron Quentin Tarantino’s Crowe film, Betsy stylized 1994 hit Heimann, who man saga, also designed the Cleopatra-coiffed “Pulp Fiction” Uma Thurman costumes, tapped sported a fitted white into California shirt and cropped girl (and Oscar black pants, a look nominee) Kate that became one Hudson’s bohemian of the decade’s style to outfit her most coveted and Seventies rock copied. Costars John groupie character, Travolta and Samuel Penny Lane. In the L. Jackson’s black process, the duo suits and skinny ties unknowingly created embodied Tarantino’s the template for all modern gangster — future Coachella- THE 2000s

blood spatter optional. goers. EVERETT COLLECTION PHOTOS BY WWD WEDNESDAY, FEBRUARY 18, 2015 31 THE SIXTIES WWD.COM DIRECTOR’S CUT

SOME NOTABLE COLLABORATIONS BETWEEN TOP DIRECTORS AND FASHION DESIGNERS. — TAYLOR HARRIS

JEAN PAUL GAULTIER FOR “THE FIFTH ELEMENT” Jean Paul Gaultier produced a staggering 954 costumes for Luc Besson’s 1997 sci-fi fantasy blockbuster. Gaultier had fun with the milieu — a hyper-real, hyper-saturated dystopia—creating looks marked by an eccentric futurism. The most memorable of the bunch is likely Milla Jovovich’s bandage look, a skimpy cat suit, accessorized only by her highlighter-orange hair.

RODARTE FOR “BLACK SWAN” Darren Aronofsky enlisted Kate and Laura Mulleavy (per the recommendation of Rodarte bestie “Breakfast at Tiffany’s”: Sad-yet-insouciant Holly Golightly may have had the “mean reds,” but and “Black Swan” star Natalie it was her little black dress — a Hubert de Givenchy design worn by Oscar-nominated Audrey Portman) to costume his Swan Lake- Hepburn in the opening scene of the 1961 film — that inspired envy and endless imitators. In thriller hybrid. Controversy aside 2006, one of the three original Italian-satin dresses Givenchy created for costumer Edith Head (Amy Westcott, the official costumer sold at Christie’s for $467,200. for the film, claimed the sisters created seven looks, not the 40 “Belle de Jour”: Luis Buñuel’s 1967 film about Séverine, a bored Parisian housewife with a initially reported), the Mulleavys are secret sexual life, became a masterpiece partly because of leading lady Catherine Deneuve’s credited for Portman’s performance deceptively prim wardrobe of double-breasted coats, collared dresses and simple shifts pieces: frothy tutus and intricately designed by Yves Saint Laurent and accessorized with pilgrim pumps by Roger Vivier. constructed feathered bodices that took in all the considerations for “Bonnie and Clyde”: As gun moll Bonnie Parker to Warren Beatty’s Depression-era bank robber dance movements. Clyde Barrow in this Oscar-winning 1967 classic, Faye Dunaway embodied tomboy chic in midi skirts, fitted sweaters and tweed suits designed by Theadora Van Runkle. And nobody wore a wool beret better. MANOLO BLAHNIK FOR “MARIE ANTOINETTE” In 2006, costume designer Milena Canonero asked Blahnik to provide the trove of confectionlike footwear for Kirsten Dunst’s title character in Sofia Coppola’s “Marie Antoinette.” The THE EIGHTIES Victoria and Albert museum in London gave Blahnik access to its archives, where he studied footwear that actually belonged to the French monarch.

RAF SIMONS FOR “I AM LOVE” Costumer Antonella Cannarozzi tapped Raf Simons — then at Jil Sander — to produce Tilda Swinton’s wardrobe for Luca Guadagnino’s 2009 release, “I Am Love.” Simons created a wardrobe marked by his signature modernist, minimalist and couture-level tailoring for Swinton, who plays the matriarch of a wealthy Milanese family who works in the fashion business.

GIORGIO ARMANI FOR “ “American Gigolo”: Richard Gere was more memorable as the perfect foil for designer Giorgio THE WOLF OF WALL STREET” Armani’s relaxed, luxurious suits than as the title character. This 1980 film about Julian Kay, Armani, a longtime collaborator of Martin a Los Angeles escort who liaises with a politician’s wife (played by Lauren Hutton), made the Scorsese’s (from “Goodfellas” to “The Italian designer a household name. Armani’s silk-and-linen designs looked equally great laid Departed”) supplied the Eighties power suits out, piece by piece, on Julian’s bed. that Leonardo DiCaprio sported in the 2013 hit “The Wolf of Wall Street.” Armani’s suits “Out of Africa”: She had a farm in Africa — and a ruggedly handsome lover played by Robert — slightly boxy, strong in the shoulder with Redford who washed her hair on a riverbank — but Meryl Streep’s 1985 star turn as Danish wide lapels and pleated in the trouser — were writer Karen Blixen is most notable for the great fashion migration it spurred: utilitarian safari the sartorial anthem of the go-go Eighties to jackets and colonial-era shirting dresses. Ralph Lauren built his empire on it, and 30 years later early Nineties in the canyons of high finance. the look remains one of his signatures. MIUCCIA PRADA AND RALPH LAUREN FOR “THE GREAT GATSBY,” 2013 AND 1974 “American Hustle”: Miuccia Prada collaborated with With Hollywood Fashion THE 2010s costume designer Catherine Martin Tape in a supporting for her husband Baz Luhrmann’s 2013 role, Oscar nominee adaptation of “The Great Gatsby.” Amy Adams outfoxed Prada provided 40 looks, each derived costume designer from the Prada and Miu Miu archives — Michael Wilkinson’s most notably Daisy’s jazzy beaded look plunging, disco-era inspired by the “chandelier dress” from Halston- and Gucci- Prada’s spring 2010 collection — for the inspired ensembles in film’s two party scenes. An exhibition this 2013 film about of the costumes showed in New York, con men, political Tokyo and Shanghai. bribes and bad But this is hardly the fi rst time perms. Add Jennifer a major designer dressed F. Scott Lawrence’s overdone Fitzgerald’s natty characters: In 1974, suburbanite style, and Ralph Lauren designed clothing for then cue Seventies Robert Redford and the rest of the looks on fashion wealthy Jazz Age gents in the fi lm in a runways for spring and more literal interpretation of elegant pre-fall 2015. and dapper Roaring Twenties style. Christopher Designs Crisscut

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