Oscars 2015 - who won for best dressed?

The awards season always culminates in the Oscar ceremony, so the ladies keep their best bets for impressive (or disastrous) appearances for this night. Who wore whom has managed to upstage who won what, and with the choices the Academy makes each year, deservedly so. Let's check some of the best dressed ladies on the 87th Academy Awards red carpet (all photos courtesy of wwd.com and Donato Sardella, and Getty Images).

Update: The best dressed lady was not even on the red carpet (of the actual ceremony that is): Diane Kruger went to the Vanity Fair Party in a smashing Donna Karan pants/dress outfit:

Mark Seliger portrait in a special set/photo booth inside the VF party - Joshua Jackson accessory optional

Look at that train! Photo by  Billy Farrell/Bfanyc.com

Cate Blanchett is the undisputed Queen of Hollywood. She probably surprised most of the nominated for Best Actress ladies in picking a simpler dress to wear (Galliano for Margiela, a first for Oscars) - you can see it in the outfits they picked, thinking of how to upstage Cate who would be giving them the award. Tough luck ladies. Cate is never upstaged. The necklace is a one of a kind piece from Tiffany's in their signature colour. It doesn't get more regal than this.

Lupita Nyong'o is resplendent in a custom made Calvin Klein dress covered with 6000 pearls. She's becoming the heir to Cates' throne. 

Margot Robbie wore a laid back Saint Laurent dress with a 30s Van Cleef and Arpels necklace that suited the plunging neckline so good. I think if she had piled some big hammered gold cuff bracelets on it would have looked even better - next time check Loulou De La Falaise on how to wear YSL.

Thankfully Rosamund Pike did not disappoint - I was afraid it would be yet another disaster like some of her recent appearances. But she rose to the occasion with this magnificent Givenchy Couture. One of the rare occasions that red looks good on the red carpet.

When I read that Emma Stone, one of my favourites, would be wearing Elie Saab, I flinched. I do not like most, if not all, the clothes Saab makes, so it looked as a disaster in the making. Fortunately it wasn't. My only objection is the light shade of green - she would have looked so much better in a darker one.

AP IMAGES

Marion Cotillard picked an unusual shape (at the back at least) for the red carpet - and it was a breath of fresh air. I love the texture of the (lasre cut?) fabric and she looks great in it. So beautiful and French. Dior Haute Couture.

Scarlett Johansson is the embodiment of "whoa" here. I love her short hair (although it looked as if she skipped the hairdresser this time) and the shade and shape of the dress suits her to a T. Versace Atelier with Piaget necklace.

Sophie Hunter looks gorgeous in this red Lanvin - another proof that red can look great on the red carpet as long as you have an amazing dress. Cumberbatch accessory optional.

I love Patricia Arquette and she always looks great on the red carpet. Simple, elegant, real. She's wearing Rosetta Getty who designed this especially for her.

How stunning can Viola Davis look? Very. Even though a stronger colour would have suited her better (a violet?), she nails it once again. Zac Posen should research some fabrics that do not crinkle that easily.

Naomi Watts (Naomi fookin Watts) got some flack for this Armani Prive gown, but I really like it. Texture, metallics, cut, all work well on her.

A knight in shining armour. I love this encrusted metallic gown Laura Dern is wearing, like a modern Joan of Arc. Only missing a sword. Custom made Alberta Ferretti,

Tegan and Sara, nominated for best song for the Lego movie, stayed true to themselves and their style. And won hands down. Tegan is wearing  a The Kooples suit and Barbara Bui shoes, while Sara is in a Public School dress. Everything is awesome indeed.

Adieu Monsieur Lesage

Francois Lesage is one of the people that influenced my taste in fashion very much. When one hears the word "embroidery" it usually conjures images of  tacky wedding outfits or traditional household items our grandmothers made ages ago. On the other end of the style spectrum, it is one of the cornerstones of Haute Couture and its creativity.

Christy Turlington in YSL Braque hommage, 1988

The house Lesage (for not only fashion designers have "houses") was created by Lesage's father, when he bought the Michonet embroidery house in 1924, suppliers of the court of Napoleon III and the first couturier Charles Worth. It went on to become a cornerstone of Paris fashion making, having clients such as Madeleine Vionnet or Elsa Schiaparelli. Coco Chanel was herself avoiding them, mainly because her main opponent, Schiaparelli, was their client. Later on, with Monsieur Lagerfeld at the helm, that would change to the point that Chanel as a company acquired the Lesage firm to help it maintain the high standards of their craft and continue an almost lost art into the 21st century.

Christy Turlington in Chanel 1990

Francois Lesage was born in 1929 and he said, "never had any doubt as to what I was to do in life, given I was born into a pile of beads and sequins" . When he took over the atelier, he became one of the icons of the Parisian Couture pantheon. Always elegant in dark impeccably tailored suits, one could see him sitting at the front row of the fashion shows of esteemed couture houses he had worked for. He later was awarded the Chevalier D'Honneur distinction from the Legion D'Honneur.

Christy Turlington in Christian Lacroix 1990

During the 20th century, the number of experts in embroidery kept declining in Paris, but Lesage, with their exquisite craftsmanship and attention to detail kept on the forefront of couture. When Francois took over, he managed to lure clients such as Dior, Givenchy, Balenciaga, Yves Saint-Laurent and Christian Lacroix. He did not just translate into embroidery the designs but helped the fashion designers find inspiration. Some just had to utter a word like "India" "peacock" or "Byzantium" to get Lesage to procure samples of intricate work for them to transform into ethereal creations. he was a creator like them indeed.

Linda Evangelista in Lanvin by Montana, 1993

The house keeps an incredible archive of the work they have done for fashion designers over the years. Monsieur Lesage was always worried about the continuation of the craft, of educating young people to keep the tradition alive and evolve it alongside haute couture, keeping the same high standards. Quite a difficult task, one which seems to have been secured with the Chanel take-over and the foundation of the Lesage Embroidery School inside the atelier in Paris' 12th arrondissement.

Schiaparelli,  1938

The atelier employees around a dozen people, with reinforcements added during overload periods such as the couture seasons. It can take from 20 hours up to 500 hours to painstakingly make the embroidery for a fashion outfit, depending on the design and the materials used. It is an art that speaks of a long lost era of hand-crafted beauty, elegance and flourish that tries to find its way into the modern era. Let us hope his demise does not signal the end of it all. 

YSL - the famous Van Gogh jackets, 1988

The book dedicate to Lesage by Editions Assouline

The famous embroidery imitation of a leopard skin, for Gaultier Couture, 1998

Schiaparelli, 1937

Katoucha wearing one of the Braque 1988 gowns, from the 2002 final YSL show

Elena Kountoura in YSL Van Gogh jacket, 1988

Detail of the YSL Van Gogh jacket

Francois Lesage in his atelier

Dimitris Petrou - Theros (or how I met one of the best Greek designers out there)

You must remember my previous post about the talented Dimitris Petrou, if not, freshen up your memory here before reading on. When I was in Athens last April, my dear Margarita (another extremely talented person who I am so lucky to have met) arranged for me to visit Dimitris in his atelier in Kolonaki, Athens and see his newest collection, Theros (means Summer in Greek) first-hand. I must say I approached the atelier with a little trepidation. Kolonaki is a very haute-bourgeois quarter and fashion people are notorious for their huge egos and condescending approach to anyone outside their cocooned world. Boy, was I in for a huge and pleasant surprise.

Dimitris welcomed me in the atelier himself. He was alone, waiting for me, and even though I was a bit late (I will  be late for my own funeral just like Liz Taylor, trust me) he welcomed me with a warm smile and seemed genuinely happy to have me there. Extremely well mannered and polite, he offered me a cup of coffee (in a vintage cup just like one my mother used to have ages ago) and we sat on one of the minimalist white sofas (in Le Corbusier style) that make up the few furniture of the atelier, matching the lovely 3D effect wallpaper on one of the walls. The whole place is painted in grey and white and decorated (sparingly) accordingly, in line with the winter collection. We talked a bit about how he wanted to change that and bring some colour in, to match the latest offerings and the theme, Theros - also his summer mood I must add. In no time we were talking like old friends (I found out he is from Northern Greece as well, Naoussa to be exact) and I felt really at home.

He had a fitting before I arrived there, with a Greek singer named Tamta for her new show opening the week after, and earlier in the day a couple of magazine editors were there for interviews and the new collection. He told me business was going well and the new clothes were greeted very positively from the Greek press and fashion people. I must remind you that his work is sur mesure - so you can find these exquisite pieces only in the atelier at 32 Kanari St, Kolonaki, Athens. 

As enjoyable as our conversation was, it was time to look at the clothes as well. Contrary to the winter collection, the summer one seems infused with colour, even though in reality he is using only three: a caramel/copper brown, a dark navy blue and a lighter blue on denim that looks really old and washed but very uniformly. His fabrics are gorgeous to feel and exquisitely cut while his idea of using a huge batch of silk scarves to make up whole items or part of clothes was brilliantly used and informed rather than dominated the collection. I got to see his incredibly textured knits up close, where he uses 3 or 4 materials knitted together in one piece that looks delicate and feels airy to touch (and wear as well). The denim he uses in this collection has a bit of stretch in it of course; he cut it into a most beautiful evening gown that must surely become one of this season's hits (see last photo of the post). As for his leather, it is soft as fresh butter and even the details made with it on some outfits are meticulously stitched and cut, adding an edge to them.

I loved the fact that again men and women's outfits are equal in the collection - Dimitris does not focus on one part more than the other, while some pieces can be worn by both men and women alike. Some details of course are mostly for the catwalk effect or a client mostly interested in stage clothes than every day (like the heavily embroidered cuffs and collar on a male shirt or the long almost transparent sleeveless knit top shown on male models but being on the women's rack in the atelier). I absolutely adore the shorts and I definitely would have gotten one if I had the time to do the fittings (the prices are really good and very very very affordable). I promised myself I will get something from the next winter collection instead.

Dimitris told me he is working a lot with couples getting married. I loved the idea of a bride and groom getting something made for them in the atelier by Dimitris and recommend it wholeheartedly. Plus it will be something you will surely want to wear again and again and not let it hidden in the back of the closet.

I must also point out that the accessories are designed by Dimitris as well: brilliant belts and gorgeous bags were there, in matching colours to the clothing, while he told me of his bespoke service too. There are two bag designs in two sizes each, where a client can pick the colours she wants for it from a palette and it will be made for her in two weeks. This service is also available in Thessaloniki, at the boutique of Anna Kapsali, Stylefax at 19 Proxnou Koromila St.

After checking out all the clothes of the summer (and last winter's too) collection, it was unfortunately time to go. I promised my self to visit again when in Athens, and said goodbye to Dimitris, wishing him all the best - he really deserves it. If you find yourself in Athens, go and check the clothes - I bet you will not be able to resist getting a piece of the collection. And it is a keeper. Promise.

Photographer :Yiorgos Kaplanidis
Fashion editor: Manos Jojos
Make up artist: Christina Agatha
Hair stylist: Dimitris Sarantou
Models:Idan - vn models, Kelvin - d models
Graphic Design : Angelo Pantelidis.

A few words about the show (which took place ten days before Easter, in April) at Thision theatre, with about 150 special guests, due to the size f the venue (Dimitris always shows his collections during their proper season and not earlier as the clothes are made to measure and there is no sense in making them 6 months before). The show started with a dance, choreographed by Apostolia Papadamaki and performed by Ioannis Emmanouilidis and Maria Lambropoulou, dressed of course in Dimitris' clothes, bringing to life the painting by Michael Tsakounti, made especially for the collection and featured on the invitation cover (designed by Aggelos Pantelidis). Then the proper fashion show began with 30 models parading like an army of modern reapers, with music by Amateur Boyz and video art by Thanassis Tsimbinis. 

The make-up was done by the talented make up artist Yiannis Marketakis with MAX FACTOR products. Hair was designed by Dimitris Sarantou and fashion direction by Manos Jojos.

Sofia Alexiadou took care of lighting (alluding to summer light) while the twin 2D gave a sense of a field of wheat on stage under the direction of scenographer George Asimakopoulos. The art direction was by George Nanouris. And of course Margarita Gourgourini was helping organize the whole thing. So much talent together! 

How the past inspires the future - Vogue and Asian models

Asian models are not a common occurence in US Vogue. We rarely see them in major editorials, let alone a cover. Yet the trend of more and more Asian beauties making their catwalk runs for many major fashion houses forced the magazine to dedicate a whole article to them, with Steven Meisel mimicking the famous Cecil Beaton photograph of Charles James gowns, this time using only Asian models and Oscar De La Renta being the couturier of choice.

The result is breathtaking, the models looking gorgeous despite the (unnecessary for me) faux Mohawks (American fashion editors still think a punk hairdo makes a layout edgy). I would have preferred having Julien d'Ys do some of his incredible pile ups on these girls. Or Thanos Samaras for that matter. Check the original photo below. Meisel may be very skilled but he missed the atmosphere completely, going instead for a very flat lighting. Gone are the masterful chiaroscuro effects and sculptural details of the Beaton shoot. Pity.

Tribute to Alexander McQueen

My all-time favourite McQueen gown, Oyster Dress, Spring Summer 2003

It is in the Metropolitan Museum of New York

Alexander McQueen with his mother

Gorgeous gown, Autumn/Winter 2006

I cannot believe I am writing this post. My favourite designer is dead. Alexander McQueen, 40 years old, was found dead at his home in London today, 9 days after the death of his beloved mother. McQueen always seemed so in control and defiant of everyone, it makes it even harder to believe he is simply gone.

Shalom Harlow being sprayed by two car painting robots

Alexander with Isabella Blow

Escher inspired print at his recycled runway, Autumn/Winter 2009-2010 show

Spring/Summer 2007 show - one of my very favourite dresses

An incredible talent, he made his way through the turbulent waters of the fashion world, always on the rise; seemingly nothing could stop him. He was born in 1969, the youngest of six in Hackney, London, in 1969; dad was a taxi driver, mom a teacher. He became interested in fashion as a child and very soon he was a young apprentice at the Saville Row tailors Anderson & Sheppard, then Gieves & Hawkes. There he made suits for the Prince of Wales amongst others (legend has it he wrote "I am a cunt" with a ballpoint pen in the lining of one of the Prince's suits). He did a small stint at Koji Tatsuno at Paris before going to Milan to work at Romeo Gigli.

Back in England in 1994, he applied for work at Central St. Martins but was encouraged to enroll as a student. His graduation collection was bought by fashion legend Isabella Blow, who was to become his friend, mentor and muse.

A selection from his work throughout the years

His infamous "Highland rape" collection in 1995 drew the fashion world's attention. The result of his theatrical but exquisitely tailord concoctions was a much coveted position at the helm of the Givenchy fashion house, right after John Galliano left for Dior. The tenure was not without problems: he called Hybert De Givenchy, one of the most revered and gentle men in Haute Couture "irrelevant", his first collection there was a failure. But he build his reputation slowly, managing to outsmart his critics.

German Vogue photo shoot

Nick Knight photo shoot for British Vogue

One of his quirky handbags

Givenchy Spring/Summer 2000 Haute Couture - in Vogue

Bjork "Homogenic" album cover, photo by Nick Knight

From his men's collection

Tilda Swinton in his dress for Narnia

Futuristic editorial

Comparing editorial to runway

Never happy with the management, he left for the Gucci group and his own label in 2001, where he enjoyed critical and financial success, opening boutiques across the world, releasing his perfume and accessories line. His oeuvre, dark and romantic yet thoroughly steeped in the modern, grimy world, enchanted people and made him popular to all. Even Puma and MAC cosmetics approached him for designing collections for them.

Men's collection

The Los Angeles boutique, designed by Pentagram

Stage for one of his shows

His first perfume, Kingdom

Nick Knight photograph

His chess-board fashion show, Spring/Summer 2005

Luggage designed for Samsonite

December 2008 Vogue US editorial with Roberto Bolle as Romeo and Coco Rocha as Juliet,

shot by Annie Leibovitz

Bjork, photographed by Nick Knight

Designed for Puma

Givenchy Autumn/Winter 1999/2000 Haute Couture leather corset

Daria Werbovy in Vogue US editorial, May 2009

I love his clothes: his collections were the ones I anticipated the most during fashion week. The outfits, dark and looking like stepping a fine line between fairy tales and science fiction, yet somehow, one could always find very wearable tailored pieces in his collections. His evening dresses were fantastic mash-ups of a variety of influences, with most prominent his love for victorianna and a morbid fascination with death - taxidermied animals, bones, whole skeletons, sculls etc, were always present in his collections.

You can read about my favourite collection of his in another post I made. His loss is a great one, not only for his family and friends, but for fashion lovers and people who appreciated his talents. He had lots more to give and I believe we had not seen the best of him yet. He will be sorely missed.

Bye bye Lee