The Biggest Fashion Disasters from the Emmys: Gold Pants, Oversized Sleeves and a Dress Like a Flying Saucer
The red carpet in front of the Los Angeles Peacock Theater once again transformed into a runway. While some stars bet on proven elegance, others decided they definitely wouldn't blend in this time. The result was daring creations that may have looked great on the designer's sketch, but didn't work too well on an actual figure.
Móda proti proudu
Názor PROTI PROUDU: Denisa Zajíčková
Lisa Ann Walter: When the Sleeves Are Bigger Than the Dress
Actress Lisa Ann Walter (63) arrived in a black gown by Christian Siriano and it was definitely not a design for an inconspicuous woman. The corseted dress itself with ruching and a wide skirt would have still worked, but the enormous tulle sleeves completely overpowered the entire look. They created two massive black fans around the actress, which at times resembled the wings of an enraged raven.
The dramatic hairstyle and bold makeup then added another layer of theatricality to the result. Walter undoubtedly attracted attention, but the question remains whether people noticed her, or mainly the giant sleeves. Sometimes it's simply good to know when to stop.
Shailene Woodley: Every Piece from a Different Story
One of the most discussed outfits of the evening was the creation worn by Shailene Woodley (34) from the fashion house Balenciaga. She paired a sky-blue top with a plunging neckline with wide gold trousers covered in sparkly appliqués. She added burgundy leather gloves reaching above the elbows and a massive necklace with colorful stones.
Each of these pieces could have worked independently, but together they looked as if the actress hadn't managed to finish her dress fitting and put on everything that happened to be lying in the stylist's trunk. The elegant top, disco trousers, opera diva gloves, and multicolored jewelry didn't give each other even an inch of space. This outfit ultimately became one of the biggest fashion targets of this year's Emmys.
Claire Danes: A flying saucer settled in her dress
A truly futuristic spectacle was offered by Claire Danes (47). The silver Armani Privé gown had a simple narrow cut, but an enormous sculptural element ran across the upper part. It covered one shoulder, a large portion of the chest, and created a peculiar oval construction in front of the actress.
It was probably meant to be a sophisticated example of architectural fashion, but in photographs the ornament resembled a collar, an inflatable ring, or a flying saucer that had decided to merge with the actress. Moreover, Claire didn't look very comfortable in the dress. The enormous rim made it almost impossible for her to see where she was going, and the design looked as if it needed constant monitoring and adjusting.
Názor PROTI PROUDU: Anděla Vostrá
Florence Pugh: Return to Prom Night
Actress Florence Pugh (30) wore a light purple Vivienne Westwood gown that accentuated her figure and offered several beautiful details. The problem was that the overall look felt somewhat outdated. The corset bodice, shimmery fabric, and draped tulle sleeves were reminiscent of dresses worn to prom twenty years ago.
The situation wasn't saved by the high, tousled updo either. It was presumably meant to look casual, but instead appeared as though the actress had styled herself in the car on the way to the ceremony. Florence is a beautiful woman and the lilac shade suits her, but this time neither the dress nor the styling were able to showcase her as well as she deserved.
Rachel Sennott and Odessa A'zion: Nightgown versus Ball of String
An unusual pair was also provided by Rachel Sennott (30) and Odessa A'zion (26). Rachel wore a sheer pink Balenciaga robe that looked like a luxury nightgown complemented by a long flowing throw. While the dress had a beautiful color, its shapelessness unnecessarily detracted from the actress. Even the bold underwear showing through the fabric didn't transform the design into a sophisticated evening gown.
Even more strikingly, Odessa appeared in a black velvet suit from Jean Paul Gaultier's atelier. Dozens of long strings hung from her sleeves and trouser legs, as if she had gotten tangled in an unraveled ball of yarn on her way to the stage. The deep neckline and velvet could have seemed sensual, but the abundance of freely hanging cords drew all attention elsewhere. Next to the pink ethereal Rachel, she resembled a dark sorceress who had accidentally brought part of a curtain with her.
