As expected, there were plenty of good-looking tuxedoes on display at last night’s Oscars.
But there were a few unexpected standouts, a few successful risk-takers—like David Oyelowo’s Bordeaux tux—and a few not-so-successful ones (ahem, Jared Leto). So we’re naming the real winners of last night, regardless of whether they took home a golden statuette.
The third and final Fey-Poehler-helmed Golden Globes ran like a well-oiled machine last night.
Which allowed us to focus on what was really important: the tuxedos.
And from the looks of last night’s proceedings, it would seem the state of black tie on the red carpet is as strong as ever (and that Hollywood has reached peak beard). With the competition stiffening with each new awards season, the stakes were higher than ever...
A little something called the Emmys happened last night.
Sure, there were some upsets on the podium, but we were more interested in who won the red carpet. And we must say, the competition was strong (while last night’s mantra seemed to be “this golden age of television,” the past few awards seasons suggest we’ve reentered a “golden age of red carpet black tie” as well).
It was mostly a black and midnight blue affair, but there were a few departures we could get behind—most notably, Jon Hamm’s ivory peak lapels and even Neil Patrick Harris’ deep wine-hued number. Naturally, we’ve rounded up the most dapper of the lot:
The red carpet at a music awards show is often host to the most egregious of questionable fashion choices—mostly because musicians have never been ones to shy from experimentation or making statements.
Which is why we were happy to learn that a few prudent musicians chose to wear Billy Reid—it paid off especially for the Mumford boys as they collected the big award of the night, looking like the sort of guys you’d want to hear crooning with banjos despite their British accents. The other group that wore Billy’s stuff was equally well suited for the task, being fellow Southern natives, the Alabama Shakes. Even their songstress, Brittany Howard, wore a custom-made dress from Reid—lest you forget the man has mastered both sides of the aisle.
It’s no secret that Tom Ford has been the driving force behind Colin Firth’s recently impeccable run at premieres and awards podiums everywhere—so it should come as no surprise that Mr. Ford can dress himself for the red carpet. Here he is at last night’s Met Ball, standing out in a field that was particularly formidable—everyone seems to be taking black-tie seriously again, thank goodness.
The difference here is that, even though we’re dealing with a double-breasted tux, a large bow tie and a larger boutonniere—all potentials for overdoing it—he keeps it in check, and in a black-and-white palette that manages to not look so, um, “Tom Ford.”
It’s easy to forget what a slick bastard Alec Baldwin was in his prime.
It’s not that he’s fallen off; just the opposite. He’s aged so gracefully, it’s hard to remember he wasn’t always the jolly playboy uncle he is now. But over the years, he’s passed through a wide range of styles, from “young hunk” to “slicked-back corporate raider” to “mountain man,” and he’s never seemed like anyone other than himself.
So we thought we’d take a minute to celebrate the evolution of Mr. Baldwin, in five easy pieces...
It’s not just black suits either. Even in a more casual setting, you have to go through the minefield of assembling an outfit’s worth of matching-but-not-too-matching shades of deep gray, and then hope your complexion is warm enough that you don’t look like a corpse or a Tim Burton character.
But at last week’s W.E. premiere, Ewan McGregor pulled it off—and on a red carpet, no less. The fur collar on his coat keeps things from getting too severe, but the real trick here is the roughly textured sweater, which keeps him looking more rugged than gothic.
Add in some winter stubble and an Old Hollywood flourish of the hair, and he’s ready for his close-up.