From bare chest to shorts: A new generation changes the Oscars red carpet

The New York Times

It’s hard to remember now, in the mists of time, that there was a time, before Covid, when there was a movement in Hollywood proposing #askhermore [pergunte mais coisas a ela], on the red carpet. And him too.

An effort to try to turn what was literally becoming a paid marketing opportunity for the fashion industry, and the celebrities who used their products, into a medium for telling stories about personal values ​​and choices. The effort didn’t last long.

At least not if you factor in the first Oscar red carpet event held without masks and without social distancing in the past two years. You can understand, somehow: it was so absurdly exciting to be back, and to be able to go back to wearing fabulous clothes, en masse.

And on top of that, there’s a lot of dark stuff going on on the planet right now, and if the movie business is good at anything, it’s escapism. But does it have to be escapism that involves stepping back into the past or jumping into the celluloid bubble? The pandemic offered an opportunity to restart the machine.

Shouldn’t the red carpet be restarted in the same way? A revamp of how we define party wear, elegance and the feel of a flashy entrance? It would be possible that the guests would finally put aside the mermaids and fairy tales (over the elastic bands). At first it didn’t seem like it.

Jessica Chastain, Oscar nominee for best actress, appeared in a glittery gold and lavender Gucci model with delicate shoulder-length detailing and a giant ruffle at the hem, like a princess straight out of a Disney movie and the fantasies of many. little girls.

Nicole Kidman, another of the nominees, wore an Armani with straight lines, bluish gray, with a generous embellishment at the waist. Zoë Kravitz seemed to be channeling Audrey Hepburn, wearing a pink Saint Laurent column, adorned with a pink ribbon bow.

Billie Eilish looked like a gothic meringue, in a Gucci moire pattern. As adorable as they all looked, their dresses were like a library of references to screen legends, going back through time. Gold was very frequent, as is often the case when the figurine is involved; the most notable example was Lupita Nyong’o’s Prada model, with fringes and sequins.

Maggie Gyllenhaal decided to take a runway-worthy risk with a Schiaparelli model that looked like a surreal Narnia chest of drawers, and Jada Pinkett Smith did the same in an emerald green gown by Glenn Martens for the Jean Paul Gaultier couture line.

The most surprising thing was that the war in Ukraine went by almost without recognition. The night’s theme was “movie lovers unite”, which could at least have hinted at some unity around blue and yellow accessories, but apart from a few small details – Jason Momoa’s blue and yellow pocket square, Benedict Cumberbatch’s tie clip, the blue ribbons worn by some refugees – this theme was virtually absent.

Once again, as usual, the red carpet saw a lot of red: Marlee Matlin in an elegant long-sleeved Monique Lhuillier model, Rosie Perez in a Christian Siriano chiffon dress, Tracee Ellis Ross in a low-cut Carolina Herrera and what appeared to be two small cup holders over her breasts.

But it was then, too, that things started to get a little more interesting. Because, looking a little closer, Kirsten Dunst’s cherry red Lacroix was actually a “vintage” model from 2002. And Arianna DeBose’s cape complemented a Valentino bustier and pleated pants, redefining the three-piece ensemble.

That’s when Timothée Chalamet arrived. Shirtless. Men have been moving the needle when it comes to evening wear for some time now. And there were some peacocks this time, especially Kodi Smit-McPhee in a baby blue Bottega Veneta suit and quaillion carats of Cartier diamonds.

Sebastian Yatra wore petal pink and Wesley Snipes was wearing a burgundy tuxedo jacket accompanied by shorts and leggings. But Chalamet took it to a whole new level. Over his bare chest, he wore an embroidered lace jacket from the Louis Vuitton Women’s Spring 2022 collection, accompanied by two matching Cartier diamond and emerald necklaces, bracelets and rings.

It was a sparkly and provocative display that directly overturned many of the old stereotypes about who can wear what, how and when. He was perhaps the person with the most skin on the entire night. And he may even make history, as the first man to go shirtless to the Oscars (at least in many years). At the very least, he has a guaranteed spot on every Oscar “memorable look” list.

With his clothes, he hinted, without saying a word, that a re-accommodation of the old rules was coming after all. And he wasn’t the only one working with this idea. Zendaya, in a white satin shirt buttoned up but cut just below her breasts and a skirt that was a curtain of silver fringes (all Valentino’s creation) was playing with history, quoting Sharon Stone, who attended the 1998 Oscars with a white Gap shirt and a Vera Wang skirt, at the time a very controversial combination, which Zendaya has now updated.

Kristen Stewart wore Chanel shorts and a tuxedo jacket, with a white shirt unbuttoned to her navel, and swapped her high heels for sneakers as soon as she walked past photographers on the red carpet. And HER she was wearing a neon yellow Carolina Herrera strapless, with a very short skirt and a cape that floated behind her like a cloud.

None of these models seemed to require the use of armored underwear or that those who wore them maintain a permanent pose with hands on waist and hips tucked to one side. This is a step forward, you can be sure. And worthy of everyone’s attention.