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.”
And having a supermodel at your side never hurts.
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…
Wearing black is harder than you think.
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.
From time to time, a man may sustain injury.
It might happen in battle, or result from powerful exertions of strength or—in the case of Brad Pitt—in the course of rescuing one’s daughter from a treacherous ski slope.
But no matter how you come by your injury, the important thing is to wear it with pride. This pic comes from last night’s Critics’ Choice awards, where Pitt did just that. It’s a simple, functional cane (conveniently coordinated with his black tux), but was our favorite thing on the red carpet for the simple reason that it made him look more interesting.
When your baseline is being Brad Pitt, that’s no easy thing.
A pocket square is a powerful thing.
And in the case of this weekend’s Cowboys & Aliens premiere, a red-lined linen square may have saved Daniel Craig from looking like an undertaker.
Don’t get us wrong; it’s a sharp suit. But if you imagine Mr. Craig striding purposefully down the red carpet in the same blue-to-black ensemble sans pocket square, and you could be forgiven for thinking he was about to assassinate Harrison Ford.
Instead, he’s all smiles and sun—the first time we’ve seen that from Mr. Bond in quite some time. Unless it has something to do with the watch…
Going to an awards show when you know you won’t win anything can take a bit of humility.
Going to an awards show when your current project is guaranteed to be the butt of half the jokes takes something closer to courage.
So we thought we’d salute Reeve Carney—Peter Parker in the ever-infamous Spider Man musical—not only for bringing some much-needed swagger to the gray bowtie, but for grinning through no less than eight jokes at the expense of his current gig at last night’s Tony Awards.
As it turns out, gentlemanliness isn’t always fun, but a few forced grins go a long way, and he made it through the night in fine form. Hats off.
The path from “respected actor” to “movie star” is an elusive, magical thing. But dressing to kill at Cannes is a pretty good first step.
We know, he’s been getting a lot of love around these parts, but this trifecta of handsomeness was too good to pass up. The two colorful tuxes are brilliant—each one catching eyes without seeming too prom-worthy—but our favorite is the Schnabel-esque getup on the right. The tropical white pants and blue spectators are both pitch-perfect formal daywear, and the untucked pajama-shirt is the stuff lookbooks are made of.
If he keeps this up, he may be headed for icon territory.
Today’s NYT brings to light a new red-carpet trend that’s been simmering since the Oscars, and for once we agree with them: The bowtie tuxedo is making its triumphant return.
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There was a lot of good style on display last night, between Guy Pearce doing his best Thom Browne impression and Morgan Freeman completing his transformation into one of the coolest people in Hollywood, but our favorite had to be Tahar Rahim, star of the French gangster opus A Prophet.
The movie’s only playing in a handful of screens, and his chances of becoming a household name are just about slim to none, but somehow he managed to land the best tuxedo in Hollywood last night. Thanks to a particularly 70s-inspired vest, he manages to turn the uniform of the Oscars into something playful, without ever looking older than he is. Not bad, given he was sharing the red carpet with none other than Tom Ford.
The red carpet isn’t all tuxedos and pomaded hair.
Take, for example, claymation guru Nick Park’s appearance at this weekend’s BAFTA awards. We wouldn’t describe it as dashing, per se, but for a gentleman best known for meticulous stop-motion confections (Wallace and Gromit, if you were wondering), it’s a pretty consistent image. The bowtie’s a good example of the old school of neckwear, but we’re more interested in the light-sopping jacket.
Nobody’s going to confuse him with George Clooney, but he seems to have the “nerdy craftsman” look sewn up.
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