Fashion

A show of power, not fashion: dressing for the post-Weinstein Golden Globes

This Golden Globes celebrity central was not a mold appear, but rather a show of energy. The critics rejected a dark clothing regulation as an apathetic type of dissent against badgering and sexual orientation disparity, however when it happened, huge numbers of those watching felt the effect. With a relatively impenetrable power outage and an ocean of Time’s Up pins, the pictures from the current year’s service discussed ladies as far as power and solidarity as opposed to allure or rivalry.

This was an astonishing sort of power outage. There was Angelina Jolie in quill trimmed dark tulle, affectionately intertwined with her young child Pax brandishing his Time’s Up stick. Reese Witherspoon and Emma Stone stood (exposed) shoulder to bear with Billie Jean King, originator of the Women’s Tennis Association, whom Stone depicts in Battle of the Sexes. Claire Foy and Mat Smith, stars of The Crown, wore coordinating tuxedos; Laura Dern, in dark Armani, remained with Monica Ramirez, a campaigner who battles sexual brutality against farmworkers.

This Golden Globes celebrity lane was not a design appear, but rather a show of energy. The skeptics rejected a dark clothing regulation as an apathetic type of dissent against provocation and sex imbalance, yet when it happened, a significant number of those watching felt the effect. With a relatively water/air proof power outage and an ocean of Time’s Up pins, the pictures from the current year’s function talked about ladies regarding force and solidarity as opposed to charm or rivalry.

 

Most actors chose relatively sober silhouettes. Belted and structured dresses were a theme, while froth and frills were notable by their absence, at least at leadership level among the power players. Exaggerated thigh-high splits and ultra-low necklines were less in evidence. The post-Weinstein fallout has coloured every nuance of life in Hollywood, and red carpet interviewers found themselves gingerly side-stepping the issue of who looked sexy. The unspoken conundrum of this red carpet was whether a glitzily saucy black dress was as in-step with the dress code as, say, Gal Gadot’s tuxedo-inspired Tom Ford gown. There are complexities as to how sexiness can be safely handled. But just as everyone agrees it should still be perfectly possible for two consensual adults who fancy each other in a workplace to find their way to romance, so do we know that it should be quite straightforward for an actor who chooses to wear a sexy dress on the red carpet to do so. It’s just that we haven’t quite figured out how to unpick this stuff, yet. After all, as Oscar Wilde said, “everything in the world is about sex except sex. Sex is about power.”

The designer Prabal Gurung, who dressed Kerry Washington and Issa Rae, told Harper’s Bazaar during the run-up to the event that fashion was “proving it can be an important factor in communicating powerful values and ideals … when future generations look back on this watershed moment, I hope they will realise that fashion served a crucial role in conveying this powerful message, and that fashion is no longer just about beauty and glamour.”

As the great Yves Saint Laurent, master of the LBD, put it, “a woman in a black dress is a pencil stroke”. What was written on the red carpet was clear: for the women of Hollywood, business as usual is not an option.