The SAG awards are interesting. They don't get as much press as the Oscars or the Golden Globes, so actors tend to make edgier, more interesting fashion statements, which can be a good and a bad thing, but is mostly just highly entertaining.
The Good:
Jenna Fischer in Pamela Rolland, Mindy Kaling in BCBG, Sandra Bullock in Alexander McQueen: FINALLY, Jenna Fischer, FINALLY. She has never worn anything on the red carpet that's done her any justice, and while this isn't the world's most perfect dress for her, it's a thousand times better than anything she's ever worn. It fits, it's flattering (for an empire-waist, at least), the color is interesting and looks great again her pale skin, the beading is just enough embellishment against her earrings, and the hair and makeup are fab. A+. And Mindy Kaling stepped it up too. Her taste usually borders on the highly eclectic side, and this dress manages to hug her curves nicely, be red carpet appropriate, and still have a bit of attitude with the snakeskin print. Props to Sandra Bullock for stepping outside the box with this one. The detail at the collar and the keyhole neckline are very glam, but they work against the simplicity of the column dress. It would almost be boring, but there's something abstract and organic about the detailing that makes this directional instead of safe. I may be biased because I just saw (and LOVED) The Proposal. But still.
Meryl Streep in Balenciaga, Marion Cotillard in Elie Saab, Anna Paquin in Alexander McQueen: Meryl Streep gets intense fashion brownie points for pulling out the Balenciaga on the red carpet. This is the perfect example of how the SAG red carpet is different than the Oscar red carpet. This dress is edgy (but age appropriate) and very on-trend, but still fresh and extremely chic. I also love that she's managed to pull off wearing sunglasses on the red carpet without looking like a jerk, and I think I see a hint (just enough) of shoulder pads. I'm surprised to see Marion Cotillard out of Dior, but I think this was a good choice. This is a little on the ice-skatery side, and softer hair would probably have helped mediate that, but I love that she went all out for this. It manages to be white, one-shouldered, and drapey without coming across as Grecian, and the feather detail at the hem adds a Moulin Rouge vibe that totally works with Marion's inherent Parisian-ness. I know a lot of people hated this McQueen dress on Anna Paquin, but I absolutely love it. Yes, the print is kind of overwhelming and crazy in a psychedelic, organic way, but the simplicity of the cut balances that out pretty well. The strong shoes stand up nicely to the dress, and have a similarly savage but chic vibe. The bracelet is sort of awkwardly blending into the dress, and I could do without it, but the clean makeup and simple hair tie it all together perfectly. Does anyone else seriously miss True Blood right now?
Jessalyn Gilsig (Glee!) , Anna Kendrick in Alberta Ferretti, Lea Michele (Glee!) in Carolina Herrera: Purple was a big SAG red carpet trend this year, which I love. It's a flattering jewel tone that people tend to shy away from for some reason. Jessalyn went for simple chic in this strapless gown that pretty much accessories itself with all that intricate pleating. The fishtail cut is refreshing against the sweetheart neckline and slightly Grecian detailing, and this fits perfectly. Anna Kendrick went a different direction in this Alberta Ferretti gown, and it's seriously fantastic. With all that layering in the skirt and the pleating in the bodice this dress doesn't need anything else. I really love that the neckline is kind of a sweetheart, but not really, and it may just be the lighting, but I think there's a slight ombre effect in the skirt (so on-trend). I think Anna's really going to end up outshining Kristen Stewart in the long run (maybe because she can actually act. Just maybe). Lea Michelle is one of the stars on Glee, and she is so many degrees of awesome. This dress is on the simple/Grecian/safe side, but the cinched waist, ruffled sleeves, and emerald hue push it just beyond boring and into classically chic.
Diane Kruger in Jason Wu, Christina Applegate in Roberto Cavalli, Penelope Cruz in L'Wren Scott: This is my favorite dress of the night. I know the comparisons to Michelle Williams' saffron Vera Wang from the Oscars a few years ago are inevitable, but I think I like this dress even better. That is a crazy tricky color to pull off, and Diane Kruger is doing it perfectly. The red lip could be too much, but I think it keeps her from being overwhelmed by the dress. It strikes the perfect balance between the retro simplicity of the cut and the extravagant exoticness of the color, it fits like a glove, and the clean accessories were a great choice. Christina Applegate has come so, so far from Married with Children. This Roberto Cavalli dress is so romantic and feminine, but not overly sweet. It is another Grecian gown, but the pale blue-grey keeps it interesting, and the straps add a bit of retro flair. This isn't my favorite look on Penelope Cruz, but it is so, so much better than her Golden Globes dress. It fits perfectly, the below-the-knee length compensates for all that cleavage, and the slight textural embellishment keeps it young and fresh. Absolutely loving the side-swept hair and absence of over-zealous spray tanning.
Michelle Monaghan in Calvin Klein, Carey Mulligan in Lanvin, Kate Hudson in Emilio Pucci: I'm not loving the Calvin Klein collection inspired by what I'm pretty sure was rocks, but I think this is the best example of that look so far (much better than Julianne Moore's version a month or two ago). It's interesting and edgy, but the string-like embellishment is so subtle that the fashion-forward silhouette doesn't come across as trend overkill. The ombre keeps that grey from washing her out, and I actually like how the top layer is longer than the lining of the dress--the hem plays off the sheer trend from the runways. Carey Mulligan is in my second favorite dress of the night. First she wears Nina Ricci at the Globes and now Lanvin? She or her stylist have flawless taste. Pleating/draped satin can look old and heavy, and the matte(ish) finish here keeps it luxurious but still fresh. The clean lines of the silhouette work perfectly with all the heavy draping and the dramatic train, and the accent of that brooch at the waist is the ideal finishing touch. This dress could seem a little matronly on someone older or curvier, but on Carey Mulligan with that pixie cut, it's young and unexpected. Kate Hudson's Pucci is backless, which I think makes a huge difference. That is a lot of white. A LOT. The tight fit and the sci-fi hip embellishment keep this from being too bridal, and the flash of skin at the back makes this more like the Kate we know and love.
The Less Than Good:
Deborah Ann Woll in Gustavo Cadile, Drew Barrymore in Monique Lhuillier, Christina Hendricks in Caroline Herrera:
Deborah is one of my favorite people on True Blood, and obviously very pretty. And her dress is obviously very sad, and very washed-out, '70s prom dress. The fit isn't great, that color isn't doing anything for her, that skirt could do with a lot less tiers, and I really don't understand that awkward ribbon at the waist. I'd love to see her in Jessalyn Gilsig's dress, or Diane Kruger's dress, or even Anna Paquin's dress. I actually have no issue with Drew Barrymore's dress. Cover up her head and she looks fantastic, whimsical and yet polished. But that Southern Belle from the '60s semi-beehive with those awkward front flips, and then there's that super-nude lip. If she'd done maybe a soft, loose chignon and a pale pink lip, this would have been a slam dunk. Christina Hendricks is another gorgeous redhead in a less than perfect dress. I have no problem with red dresses on a red carpet, but this really looks like she's growing out of the carpet itself. If the dress ended just above the knee it would all work so, so much better. Also if it was a size bigger and a little less bulky at the shoulder strap. But her hair and makeup are crazy fantastic.
Image Sources:
all from Jezebel.com, Anna Paquin and Deborah Woll from jezebel.com.
The Good:
Jenna Fischer in Pamela Rolland, Mindy Kaling in BCBG, Sandra Bullock in Alexander McQueen: FINALLY, Jenna Fischer, FINALLY. She has never worn anything on the red carpet that's done her any justice, and while this isn't the world's most perfect dress for her, it's a thousand times better than anything she's ever worn. It fits, it's flattering (for an empire-waist, at least), the color is interesting and looks great again her pale skin, the beading is just enough embellishment against her earrings, and the hair and makeup are fab. A+. And Mindy Kaling stepped it up too. Her taste usually borders on the highly eclectic side, and this dress manages to hug her curves nicely, be red carpet appropriate, and still have a bit of attitude with the snakeskin print. Props to Sandra Bullock for stepping outside the box with this one. The detail at the collar and the keyhole neckline are very glam, but they work against the simplicity of the column dress. It would almost be boring, but there's something abstract and organic about the detailing that makes this directional instead of safe. I may be biased because I just saw (and LOVED) The Proposal. But still.
Meryl Streep in Balenciaga, Marion Cotillard in Elie Saab, Anna Paquin in Alexander McQueen: Meryl Streep gets intense fashion brownie points for pulling out the Balenciaga on the red carpet. This is the perfect example of how the SAG red carpet is different than the Oscar red carpet. This dress is edgy (but age appropriate) and very on-trend, but still fresh and extremely chic. I also love that she's managed to pull off wearing sunglasses on the red carpet without looking like a jerk, and I think I see a hint (just enough) of shoulder pads. I'm surprised to see Marion Cotillard out of Dior, but I think this was a good choice. This is a little on the ice-skatery side, and softer hair would probably have helped mediate that, but I love that she went all out for this. It manages to be white, one-shouldered, and drapey without coming across as Grecian, and the feather detail at the hem adds a Moulin Rouge vibe that totally works with Marion's inherent Parisian-ness. I know a lot of people hated this McQueen dress on Anna Paquin, but I absolutely love it. Yes, the print is kind of overwhelming and crazy in a psychedelic, organic way, but the simplicity of the cut balances that out pretty well. The strong shoes stand up nicely to the dress, and have a similarly savage but chic vibe. The bracelet is sort of awkwardly blending into the dress, and I could do without it, but the clean makeup and simple hair tie it all together perfectly. Does anyone else seriously miss True Blood right now?
Jessalyn Gilsig (Glee!) , Anna Kendrick in Alberta Ferretti, Lea Michele (Glee!) in Carolina Herrera: Purple was a big SAG red carpet trend this year, which I love. It's a flattering jewel tone that people tend to shy away from for some reason. Jessalyn went for simple chic in this strapless gown that pretty much accessories itself with all that intricate pleating. The fishtail cut is refreshing against the sweetheart neckline and slightly Grecian detailing, and this fits perfectly. Anna Kendrick went a different direction in this Alberta Ferretti gown, and it's seriously fantastic. With all that layering in the skirt and the pleating in the bodice this dress doesn't need anything else. I really love that the neckline is kind of a sweetheart, but not really, and it may just be the lighting, but I think there's a slight ombre effect in the skirt (so on-trend). I think Anna's really going to end up outshining Kristen Stewart in the long run (maybe because she can actually act. Just maybe). Lea Michelle is one of the stars on Glee, and she is so many degrees of awesome. This dress is on the simple/Grecian/safe side, but the cinched waist, ruffled sleeves, and emerald hue push it just beyond boring and into classically chic.
Diane Kruger in Jason Wu, Christina Applegate in Roberto Cavalli, Penelope Cruz in L'Wren Scott: This is my favorite dress of the night. I know the comparisons to Michelle Williams' saffron Vera Wang from the Oscars a few years ago are inevitable, but I think I like this dress even better. That is a crazy tricky color to pull off, and Diane Kruger is doing it perfectly. The red lip could be too much, but I think it keeps her from being overwhelmed by the dress. It strikes the perfect balance between the retro simplicity of the cut and the extravagant exoticness of the color, it fits like a glove, and the clean accessories were a great choice. Christina Applegate has come so, so far from Married with Children. This Roberto Cavalli dress is so romantic and feminine, but not overly sweet. It is another Grecian gown, but the pale blue-grey keeps it interesting, and the straps add a bit of retro flair. This isn't my favorite look on Penelope Cruz, but it is so, so much better than her Golden Globes dress. It fits perfectly, the below-the-knee length compensates for all that cleavage, and the slight textural embellishment keeps it young and fresh. Absolutely loving the side-swept hair and absence of over-zealous spray tanning.
Michelle Monaghan in Calvin Klein, Carey Mulligan in Lanvin, Kate Hudson in Emilio Pucci: I'm not loving the Calvin Klein collection inspired by what I'm pretty sure was rocks, but I think this is the best example of that look so far (much better than Julianne Moore's version a month or two ago). It's interesting and edgy, but the string-like embellishment is so subtle that the fashion-forward silhouette doesn't come across as trend overkill. The ombre keeps that grey from washing her out, and I actually like how the top layer is longer than the lining of the dress--the hem plays off the sheer trend from the runways. Carey Mulligan is in my second favorite dress of the night. First she wears Nina Ricci at the Globes and now Lanvin? She or her stylist have flawless taste. Pleating/draped satin can look old and heavy, and the matte(ish) finish here keeps it luxurious but still fresh. The clean lines of the silhouette work perfectly with all the heavy draping and the dramatic train, and the accent of that brooch at the waist is the ideal finishing touch. This dress could seem a little matronly on someone older or curvier, but on Carey Mulligan with that pixie cut, it's young and unexpected. Kate Hudson's Pucci is backless, which I think makes a huge difference. That is a lot of white. A LOT. The tight fit and the sci-fi hip embellishment keep this from being too bridal, and the flash of skin at the back makes this more like the Kate we know and love.
The Less Than Good:
Deborah Ann Woll in Gustavo Cadile, Drew Barrymore in Monique Lhuillier, Christina Hendricks in Caroline Herrera:
Deborah is one of my favorite people on True Blood, and obviously very pretty. And her dress is obviously very sad, and very washed-out, '70s prom dress. The fit isn't great, that color isn't doing anything for her, that skirt could do with a lot less tiers, and I really don't understand that awkward ribbon at the waist. I'd love to see her in Jessalyn Gilsig's dress, or Diane Kruger's dress, or even Anna Paquin's dress. I actually have no issue with Drew Barrymore's dress. Cover up her head and she looks fantastic, whimsical and yet polished. But that Southern Belle from the '60s semi-beehive with those awkward front flips, and then there's that super-nude lip. If she'd done maybe a soft, loose chignon and a pale pink lip, this would have been a slam dunk. Christina Hendricks is another gorgeous redhead in a less than perfect dress. I have no problem with red dresses on a red carpet, but this really looks like she's growing out of the carpet itself. If the dress ended just above the knee it would all work so, so much better. Also if it was a size bigger and a little less bulky at the shoulder strap. But her hair and makeup are crazy fantastic.
Image Sources:
all from Jezebel.com, Anna Paquin and Deborah Woll from jezebel.com.
Post Title
→SAG Awards: Red Carpet
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→https://harahuruhairstyle.blogspot.com/2010/01/sag-awards-red-carpet.html
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