Of all the people not to upset at last night’s BRIT Awards, one of them must have been Madonna – one of the biggest stars in the world – during her big comeback performance.

Tabloid in long-form, Anger details the scandals of Tinseltown’s very first stars (including Rudolph Valentino, Roscoe Arbuckle, and Clara Bow) against the backdrop of a city charged by rampant debauchery and high glamour.

Whereas Hollywood Babylon deals mostly with the era’s nightlife, the workday habits of early film stars were pretty wild too. For our purposes, it’s all about the prep. Hence a little history lesson today, particularly about how one might get ready for a period moving picture.

Early movies were shot on orthochromatic film, which was not sensitive to yellow-red wavelengths (so colors on that end of the spectrum became almost black). Blue and purple tones, in turn, showed up pale and whitish. The unfortunate on-screen effects of this were myriad—actors with ruddy skin looked dirty, and blue eyes would turn blank and spooky. The latter pitfall almost foiled the ambitions of eventual Academy Award winner Norma Shearer when she was told by D.W. Griffith, The Birth of a Nation director, that her eyes were “far too blue” to have any success in cinema.

In order to create an impactful (and hopefully, natural) look under such conditions in the 1910s and ’20s, most actors were tasked with applying their own makeup (A common press photo set-up was very Top Shelf-like and featured the starlet at her vanity.), and studios would distribute guides for proper use of color. Blue-toned greasepaint was applied as a foundation and contouring shade, while lips were painted yellow. In real life, actors must have looked truly bizarre when they arrived at the studio. Early greasepaint was texturally problematic. Since it was applied with a heavy hand, the surface layer would often crack when the actor’s expression changed (not great for a medium that relied so heavily on overly dramatic, silent expression). It could also be hazardous—as was in the case of Dolores Costello (Drew Barrymore’s paternal grandmother), whose complexion and career were both damaged beyond repair by early film makeup. In 1914, Max Factor, a wig and cosmetic shop owner in Los Angeles, developed a solution in the form of Flexible Greasepaint. After its invention, he became the most sought-after makeup artist in Hollywood and the leading figure in cosmetic development for the industry.

Factor’s personalized approach to makeup artistry cemented a few specific, studio-endorsed “looks.” For Clara Bow, he drew her sharply peaked cupid’s bow; Joan Crawford’s signature “smeared” lip (extending far beyond her natural line) assuaged the actress’ thin-lipped insecurities and was all thanks to Factor. Industry standards also required actors’ eyes to look deep-set and moody by shadowing them from lash line to socket, and eyebrows were drawn straight, bold, and very, very long (think Louise Brooks).

When orthochromatic film gave way to panchromatic in the 1920s, shiny hair and eyelids captured the glow of incandescent bulbs used on-set to great effect. Factor kept pace, developing specific light-refracting hair dyes to suit this technical shift—even sprinkling gold dust on to Marlene Dietrich’s wigs when asked. He couldn’t rest on his laurels for long though—Technicolor was on the horizon, and with it came a new set of cosmetic challenges.

A final note: In the early ‘30s, still riding the panchromatic “high shine” wave, Factor created a slick lip coat for his famous clients. The formula would go on to become commercially sold as “X-Rated,” the world’s very first lip gloss. Something I think we’re all still kind of into.

—Lauren Maas

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Catch-22!

(Noun: A dilemma from which there is no escape because of mutually conflicting or dependent conditions.)

Now here is one for the book. As everyone who works in fashion news media knows, access to the shows and events are the bread & butter of fashion news coverage. Many of us who work in online media are always butting heads with the pr firms and inhouse publicists to gain access to the shows and events that demand our attention. We have been online for almost 17 years now, and way back in the early years the fashion industry cared little about the Internet, so being ignored was SOP for most publicists.

Of course, everything has changed now. To say that the Internet has revolutionized fashion coverage would hardly be an overstatement. You only have to look at what goes on during NY fashion week with the hundreds of bloggers that inhabit the center pit at the Lincoln Center venue to understand what a  central role online coverage means to this industry.

Now, with hundreds of fashion sites both large and small, access to the major fashion events in NYC can still be “iffy”. Obviously, there is an A-list of major online outlets like Style.com, WWD.com and other online versions of  fashion magazines and newspapers  that enjoy total access. And this is as it should be. I will never forget having Grace Mirabella, the former editor-in-chief of Vogue, at my home to meet the then editor of British Vogue online Abigail Chisman being amazed that people actually had a hard time getting into shows and events!

For the rest of us, there is the continual competition as to who is “perceived” important enough to warrant invites to such events as the CFDA Awards. In the case of the CFDA it is the powerhouse pr firm KCD (Orginally know as Keeble, Cavaco, & Duka) who handles the press.

So once again, we put in our humble request to have our reporter and photographer cover the event – we have been covering the awards since 2000 ( click here for that first article ). In addition, our editor-in-chief Marilyn Kirschner also votes on who is to receive the awards and has even attended the event as a paying guest.

Souri Kim of KCD emailed us yesterday the following after we emailed him our report from last year:

“we can offer a photographer. the link you sent through really isn’t the type of coverage that warrants a red carpet reporter as it was comprised mostly of information from the release (except for the addition you added to the header)”

Last year KCD would not give our writer a red carpet credential so we were forced to use their extensive and well written press release as the basis of our report – with pictures by our photographer Randy Brooke. See our article here. KCD is not credentialing our reporter this year. Why? Because we did not have a reporter present last year! Am I missing something here? Yossarian, where are you when we need you?

If that is not “Catch-22”, I don’t know what is?

– Ernest Schmatolla

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 Red Carpet Report

This year the Costume Institute of the Metropolitan Museum of Art celebrates “The Model as Muse: Embodying Fashion”. The exhibition runs from May 6 until August 9, 2009. As mentioned in the press release, this exhibition explores the reciprocal relationship between high fashion and evolving ideals of beauty, focusing on iconic fashion models in the latter half of the 20th century and their roles in projecting, and sometimes inspiring, the fashion of their respective eras. The exhibit is expected to showcase how these models have served as designer muses by inspiring, defining and embodying trendsof the 20th century, and contributing to how fashion eras are remembered.

In the past years, the public interest and fascination for supermodels has waned significantly. The gala held tonight served as an interesting view of what was yesterday and how things are today. Long gone are the Linda Evangelista and Naomi Campbell flamboyant display of personalities that had more to do with the superstar system than anything related to the fashion world. Today, fashion and its dictates have won, and the models have become not much more than clothes hangers that let the creative spirit of fashion designers be expressed. They merely display clothes, leaving their personalities behind a common mask of unexpressive faces and languid physical stance. The British model Agnes Deyn, who has been touted as “fashion’s next supermodel” is an exception. Even she stays in the recesses of public scrutiny (so far), just lending her public persona for mostly fashion related events.

The two first VIPs to step on the red carpet were Marc Jacobs (Honorary Chair) and Kate Moss (one of the three co-chairs), clad in a single shoulder asymmetrical metallic dress by Marc Jacobs with matching platform heels and a metallic turban by Stephen Jones. Following them and in all fashion splendor came Heidi Klum (who is expecting), glowing in a Gilles Mendel dress made of layered and tiered midnight blue organza. Gilles Mendel was her proud escort.

After this, a succession of celebrities, models and guests followed on the red carpet amid the shouting of photographers claiming their attention, and lights flashing from every direction. Among the many seen arriving and posing for photographs, some more than others attracted attention whether by their status and/or what they were wearing. The models were out in force, of course, most showing long and extremely skinny legs in very short outfits.

Cindy Crawford, along side Donatella Versace, sizzled in a plunging and fitted electric blue Versace number that featured a thigh-high slit. Victoria Beckham in a Marc Jacobs polka-dot single shoulder mini dress with a train stood confidently in sky-high pedestal ankle wrap pumps.The only fashion tragedy of that evening was that Leighton Meester wore the same shoes! Jessica Biel stepped out in Christian Louboutin’s, looking radiant in a red boned-bodiced Atelier Versace Spring 2009 gown complete with ruffled train.

Boyfriend Justin Timberlake, a co-host of the night’s festivities, looked dapper in a creation from his William Rast line. Gisele Bundchen went super short in a sequined blue Versace mini and peep-toe booties to match. Tyra Banks walked the red carpet in a metallic black strapless fishtail Badgley Mischka Couture gown accessorized with the designer’s jet chandelier earrings, glass stone cuff, and couture shoes. The singer Rihanna sizzled in a black tuxedo, and edgy creation from Dolce & Gabbana.

Almost a flashback to her wild youth and shocking ways, Madonna turned out in an outrageous ensemble complete with thigh high black stripper boots and what could be the world’s largest scrunchie. It was Louis Vuitton, so that worked for the “Material Girl,” but not for the rest of us. Designer Stella McCartney in a lacy pant singlet showed off some of her design muses. Kate Hudson glistened in a gold keyhole halter gown with exposed back, Liv Tyler was superb in a blue plunging number, and Kate Bosworth was magnificent in a body-hugging lace gown.

Mary-Kate Olsen wore a fantastically full vintage Christian Lacroix frock. Diane von Furstenberg was seen going up the stairs in an elegant free flowing metallic dress. The singer Ciara looked beautiful in a black and white Pucci dress created by its new director Peter Dundas. If Anna Wintour looked elegant and classy in a black and white Chanel Couture dress, her daughter Bee Schafer and her Nina Ricci dress didn’t fare as well. A special mention goes to Stella McCartney whose obvious talent was well displayed that night.

However, in my opinion, the five best dresses of the night were the ones worn by Heidi Klum (Gilles Mendel), Marion Cotillard in a dreamy blush pink Christian Dior dress, Renée Zellweger in a fantastic forest green long dress by Carolina Herrera, Liv Tyler in a blue metallic dress by Stella McCartney, Diane Kruger in a fantastic Chanel dress of white roses.

As for the fashion faux pas, well, there were quite a few. The one that stands out the most has to be what Helena Christiensen was wearing. She was accompanied by Zac Posen and modeled one of the fashion designer’s creations that looked more like a cheap Halloween costume than anything else.

Kohle Yohannan, guest co-curator of the exhibit says that “We’reliving in an era, where there are 14-year olds running up and down the runway and Carmen at 77 walking the same runway. We have plus-size models, we have the skinny model, we’ve got everything inbetween, we’ve got every race, every blend, every exotic type. That’s great, we’ve come a long way and I think it’s awesome to celebrate all of these women’s contributions to what fashion is, because it’s more than a dress. It’s the woman in it as well”. Maybe, Mr Yohannan, however more than ever before, the high-end of fashion only chooses very skinny and unhealthy looking models. Tonight, seeing curvier women like Cindy Crawford, Cheryl Tiegs and Carol Alt (to name a few) was a reminder that models do not need to be just clothes hangers to display fashion the best way.

A final note concerning the technical side of the event. This year, budget cuts (?) resulted in poor lighting under the tent housing the red carpet. It’s was quite unfortunate, as many photographers noted.

-Muriel Geny-Triffaut

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Who were the big winners and sinners at the fashion Olympics otherwise known as the Academy Awards? How did Jon Stewart do? What the hell was Ryan Seacrest thinking?

Read the definitive ‘Last Word’ on the subject by our entertainment editor Diane Clehane. Her entertaining and at times irreverent look at the awards is a highly personal take on what is going on through the eyes of this verteran insider.

Click here to read report

The post Oscars 2008: ‘The Last Word’ appeared first on lookonline.

A bevy of the most beautiful women and accomplished men paraded on the red carpet of Metropolitan Museum for the annual black tie dinner to benefit the Museum’s Costume Institute. The gala evening celebrating the landmark exhibition, Poiret: King of Fashion, was a tour du force event successfully executed by the chairs of the event, Vogue’s Anna Wintour, Nicholas Ghesquiere (Balenciaga’s creative director), Cate Blanchett and Honorary Chair, Francois-Henri Pinault (CEO of PPR, the world’s third largest luxury conglomerate) in conjunction with the Metropolitan Museum.

This inaugural exhibition is the first major exhibition about Paul Poiret’s work in more than thirty years. In keeping with Poiret’s penchant for glamorous excess and sumptuous entertaining, the lavish gala evening launched the exhibition with a resounding exclamation point. The impressive and colorful array of guests (750) arrived at 7:00 p.m. onwards and ascended the tented red carpet of the magnificent steps of the museum. Four live peacocks (one completely white) spreading their tail feathers in an enormous birdcage spanning 30 feet tall surrounded by cascades of roses (5000 roses) greeted the guests as they entered the museum doors.

The red carpet was an exclusive parade of movie stars, television celebrities, music business icons, power brokers, fashion designers and their muses. Since it is the biggest fashion event of the year, the women most definitely strutted in their beautiful evening gowns. Like resplendent peacocks spreading out their tail feathers into fans, the women arrived with colorful, elaborate gowns with long trains. They elegantly displayed their plumage (some of them, proudly) and they did not disappoint the numerous members of the press who were shouting out celebrity names in a surging cacophony of noise on the red carpet.

Red Carpet Photos by Randy Brooke:
Jean Paul Gaultier and Coco Rocha
Zac Posen and Lucy Liu
Rose McGowan
Christy Turlington
Claudia Schiffer
Hamish Bowles and Caroline TrentiniIvanka Trump
Karl LagerfeldKelly Ripa
Molly SimmsMichael Kors with Eva Mendes
Valentina Petrova
Bee Schaffer
Rihanna
Sandra Bullock
Diane von Furstenberg and Barry Diller
Jennifer Lopez
Zi Yi Zhang and Georgina Chapman
Natasha Richardson and Vanessa Redgrave
Camilla Belle
Francois-Henri Pinault and Salma Hayek
Donatella Versace and Hilary Swank
Naomi Campbell in Azzedine Alaia
Renee Zellweger
Angie Harmon
Jessica Simpson
Claire Danes and Hugh Dancy
Lindsey Lohan
Kirsten Dunst
Valentino and Jennifer Gardner
Cate Blanchett
The most stunning gown of the evening – Jessica Stam

(All photos copyright c Randy Brooke for Lookonline.com. Pictures may not be used without permission.)

The guests were led to the exhibition – a series of tableaux with 50 ensembles on view for the inaugural viewing and then off to the cocktails in the Museum’s Carroll and Milton Petrie European Sculpture court where four enormous wall hangings reproducing prints by Leon Bakst (designer for Ballet Russes and one of Poiret’s influences) are displayed.

Dinner started at 8:30 p.m. in the American Wing. The Engelhard Court was completely transformed into a beautiful room of color and exciting patterns designed by Poiret that were recently rediscovered in archival photographs and reinterpreted. The wall coverings, astute incorporations of Poiret’s designs, encapsulated the dining room in excitement and color.

Rose bushes and ottomans decorated in colorful fabrics divided the courtyard into a series of intimate dining areas, and the tables were covered by eye catching silk cloths that have been handpainted with Poiret’s designs. Each table had chairs covered with an array of Poiret inspired fabrics.

Linen napkins fashioned in the shape of roses adorned each plate. This was a most beautiful room under the stars and the ‘icing on the cake’ were seven gigantic, organically shaped, hanging silk lampshades that tied it all together. As I previewed the exhibition in the morning, I was fascinated by Poiret’s attention to detail. The dining room encompassed that spirit, and amplified that sense of ‘fun and flimsy’ in a very exciting way.

The menu was inspired by a 1928 cookbook complied by Poiret. The meal began with rosette de saumon fume aux perles noires (rosettes of salmon with caviar), accompanied by Chassagne Montrachet 2003. The entrée was escalope de veau aux morilles (scalloped veal with morels) and galette de pommes de terre aux truffes (potato galette with truffles) served with Les Forts de Latour, Millesime 1999. For desert, gateau moka and crème anglaise. Singer and actress Jennifer Hudson, who won the Academy Award in March for her role in Dreamgirls performed 3 songs.

For a party held in honor of the man who liberated women from the corset, who pioneered the concept of fashion as a lifestyle, consequently establishing the blueprint of the modern fashion business, and the first designer who believed designing dresses is an art – it was indeed a beautiful night graced by an unprecedented number of luminescent celebrities. This parade of peacocks, reminiscent of Poiret’s lavish ‘One Thousand and Second Night’ befits this homage to a king. Even the Metropolitan Museum was dressed up in modern grandeur and preened to open its showy plumage. This night was the biggest party of the year – a night of unforgettable extravagance and style. Long live the King of Fashion!

-Anna Bayle

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