Designer dress colors carry messages – WWD

In a weird twist on the standby joke, attendees’ color choices for Sunday night’s Oscars could be boiled down to “What’s black and white and red everywhere?”

With few exceptions, many of the most photographed female participants opted for black or white robes. Think Rihanna’s black semi-sheer Alaïa with a bandeau and leather skirt, or trailblazing Best Actress winner Michelle Yeoh, white feathery Dior Couture. As millions watch the designer choices, award-winning speeches, unintentional on-camera slips and performances of “Best Song,” Leatrice Eiseman, executive director of the Pantone Color Institute, focuses on the predominant hues.

Surprised as she was by the lack of color worn by many attendees in the crowd, Eiseman said the styling message of “modern elegance” underscored her choice. “Although there was an air of nostalgia and Old Hollywood glamour, the word ‘architectural’ kept coming to mind alongside modern elegance,” she said. “The ties of the dresses and the fitted silhouettes were well represented by the black and white.”

Even though many colors wouldn’t call black or white – in the traditional sense – they still have meanings. “Black and white are literal presences. That presence of black and white really validated the idea of ​​the designs they were trying to convey,” Eiseman said.

Referring to the dramatic black Louis Vuitton gown with dropped shoulders and rhinestone halterneck worn by Jennifer Connelly, Eiseman said, “Talk about architecture. You could just see the glitter effect on a building. It was so expressive of architecture.”

The opposite of that were the airier, layered white selections chosen by Yeoh, Michelle Williams in Chanel Couture and Rooney Mara’s vintage Alexander McQueen, Eiseman said.

The predominance of black and white in the audience – beyond the expected sea of ​​tuxedos – made the limited number of vibrant gowns stand out even more. Black Panther: Wakanda Forever star Angela Bassett’s purple Moschino dress with a puff sleeve embodied this, making her stand out and conveying a royal feel. Always looking for Pantone’s “color of the year” at the Oscars, Eiseman singled out Cara Delevigne’s “exuberant, beautifully worn” red Elie Saab dress.

Costume designer Ruth E. Carter, who became the first black woman to win two Oscars, also made a statement with her off-the-shoulder sun-kissed dress. This election was “really impactful because it talked about empowerment [in her acceptance speech] by women, especially black women. She was like a ray of bright sunshine breaking through the shimmering texture of her dress and its heavy satin look. Underneath it was lined in fuchsia with matching shoes. That was such an amazing statement. All eyes had to be on them, not that we aren’t, but definitely more on the yellow.”

As obvious as such hues were at the evening wear event, the lack of color was undeniable and spoke to the mood European and American designers were expressing in their recent runway shows. The shimmer, the shine, the sequins, sequins and other details that “so many of the stars” wore on Sunday night are another nod to the craftsmanship of their garments, Eiseman said. Michelle Williams’ heavenly Chanel couture, Salma Hayek’s sparkling red Gucci dress, Cate Blanchett’s Louis Vuitton gown with a sapphire, electric blue bodice and Janelle Monáe’s tailored Vera Wang with an orange skirt were prime examples.

Sunday night’s unofficial ode to the Hollywood glamor dress code reiterated studios’ increasing priority to getting more films to theaters rather than streaming first and reminding people to sink in the dark with a crowd. “Absolutely, and several comments were made throughout the show urging people to go back to theaters. That’s why I call it “modern elegance”. It was reminiscent of the old movie star days but had a modern twist with this architectural influence.”

Another indicator of the mass impact of A-list actresses’ Oscar nightwear was clear in the nighttime betting ahead of the awards show. Some bet on what color Margot Robbie would wear, with black, white and gold being options. The “Barbie” and “Babylon” actress wore a strapless Armani Privé dress with black sequins.

The black-and-white-centric choices seem at odds with the way designers and consumers are embracing bolder colors more than ever, but Eiseman noted, “I always like to look out at the sea of ​​audiences and always at the balcony, where a lot is the.” non-professionals sit. What are they wearing? You’ve definitely seen some brightly colored spots. The reds are always an eye-catcher. There were yellows, pinks from lighter to lighter. Dwayne Johnson makes a statement in pink [Dolce & Gabbana] was great. There was also some fuchsia, blue and orange.”

Interestingly, the Pantone colourist viewed sustainability as one of the main takeaways of Oscar night, citing Blanchett’s seasonal choice and Winnie Harlow’s pale yellow 2005 Armani Privé gown. What does that bring into our lives today and make it relevant?” said Eismann. “This use of black and white [reflects how] Our world today is so black and white. It’s full of contradictions. From a sociological point of view, this extreme contrast of black and white with these splashes of color is a total statement.

“Yes, the world seems very divided and we have very opposing points of view. But at the same time, we have hopes of the yellow—like what Ruth Carter wore—some bright pinks and reds. There’s a reason to delve into fashion to understand that there’s always something beyond. It’s not all black and white,” Eiseman said.