Williams’s capacity to hold off seafoam-coloured feathers is a testament to her self-confidence. The choice indicates that she has an eye fixed for what plays well on television and an understanding of purple-carpet trend. Sure, all those little red satin slinks had been pretty and tasteful, but not particularly attention-grabbing. Any gown that would pass muster for the White House Correspondents’ Dinner doesn’t belong on the purple carpet in Hollywood. Stars are paid the large bucks to be stunning, not secure.
There were no close seconds to Williams’s splendor, but Katherine Heigl was classically glamorous in a va-va-voom, off-the-shoulder white gown by Zac Posen. William H. Macy looked dashing in his black ascot with white pin dots. Frankly, any man who dares to put on an ascot and manages to look elegant reasonably than self-conscious ought to get an award. (And yes, the horror of Terry O’Quinn’s pink satin shirt and rhinestone-encrusted tie will be dutifully examined. Please, be patient.)
The most important style winners in the course of the Emmy telecast may have been the lesser identified designers whose gowns and sneakers entered the highlight on celebrated backs — and toes — in significant numbers. Big brand standbys reminiscent of Giorgio Armani and Christian Dior had their moments: Glenn Close appeared classy and chic in Armani’s navy satin halter gown and Heidi Klum and husband Seal both looked glamorous in Dior. Nevertheless it was dressmakers such as Posen, Bottega Veneta, KaufmanFranco and Kevan Hall who stood out. So did shoemaker Brian Atwood, who once designed accessories at Versace and managed to get his stilettos on Debra Messing and “Ugly Betty’s” Rebecca Romijn and Ana Ortiz.
Corridor created the feather extravaganza for Williams. The designer, primarily based in Los Angeles, is thought for his dramatic evening wear. He became famous during his time at Halston, when he worked alongside Artistic Director Randolph Duke. Hall committed the final word faux pas for a design assistant by noting publicly that he, not Duke, had been answerable for the heavily praised berry-pink evening gown worn by Minnie Driver to the 70th Oscars in 1998.
Except for the prepare of wispy feathers, which gave Williams’s dress drama without making it appear leaden and cumbersome, it appeared to fit perfectly. Together with her hair pulled back and her pores and skin glowing — or perhaps just moist from the California heat — Williams walked the positive line between glamour and Bjork.
Eva Longoria’s cocktail-size slink coated in silver paillettes was designed by KaufmanFranco, which additionally contributed a gown to her trousseau. Ken Kaufman and Isaac Franco have a business partnership that dates again to their time as co-artistic directors at Anne Klein within the 1990s. They’re better recognized for his or her sportswear than evening attire, however Longoria’s sexy and youthful frock proves their versatility.
Sandra Oh from “Gray’s Anatomy” wore a strapless wool gown with an inset of white chiffon by Bottega Veneta’s Tomas Maier, who’s finest identified for his handbags and footwear. The stark traces of the gown confirmed up beautifully on television, and it made Oh the epitome of minimalist chic in a sea of froth.
Reem Acra, greatest known for her marriage ceremony gowns, had multiple purple-carpet successes at the Emmys. She created a red strapless satin gown for Ali Larter of “Heroes” and an in depth-fitting black strapless gown for Jennifer Love Hewitt.
Eric Mabius from “Ugly Betty” was wearing a Salvatore Ferragamo tuxedo — an outdated-guard brand, however one that has been rare on the red carpet. He didn’t look especially outstanding in it, but he ought to be acknowledged for articulating some semblance of a proof for why he selected this tux. Throughout a purple carpet interview on E!, he noted that the company has some new designers who’re doing a little great stuff. These are the coolest lapels he had ever seen on a tux. (Frankly, the lapels did not look all that interesting, however it sounded good.)
Mabius’s informed sporting of Ferragamo needs to be contrasted with Neil Patrick Harris, who was sporting head-to-toe Prada because he needed to put on a designer whose identify “was easy to spell.”
There was a burst of forthright weight loss plan info on the crimson carpet. A reporter asked Julia Louis-Dreyfus, who was sporting a violet Narciso Rodriguez physique-acutely aware gown, how she stayed so slim. She answered: “I work out too much, and I do not eat something good.” And as proof, she mentioned she’d had scrambled egg whites for breakfast. When Jaime Pressly from “My Name Is Earl” was asked how she lost all her baby weight, she credited the “cabbage soup detox weight-reduction plan,” as an alternative of the usual Hollywood storyline about how the pounds simply fell off in a week because being a new mother keeps her so busy. Then Pressly turned into Dr. Jaime and went on about how the cabbage eating regimen is so nice that physicians give it to patients earlier than surgery, which just sounded like the ramblings of a lady lightheaded from subsisting on cabbage puree. The place’s Dr. Sanjay Gupta once you need him? Pressly, by the way in which, was dressed in a black and silver, mother-of-the-bride circa 1980 dress by St. John, the place apparently designers can solely be bothered to whip up flattering evening gowns after they’re going to be worn by spokesmodel Angelina Jolie.
There have been different dresses that weren’t especially fetching, however nothing that would make a viewer gasp in horror. Minnie Driver’s chartreuse goddess gown draped beautifully, but the color made her look somewhat sallow. Hayden Panettiere of “Heroes” was virtually swallowed up by an empire-waist, long puff of blush-coloured taffeta by Marc Bouwer. And Joely Fisher’s Pamella Roland dress with its high slit and low-neckline was too revealing from all angles.
Mostly it was the males’s clothes that left one gasping in dismay, particularly these on Terry O’Quinn of “Lost,” who looked like a circus barker in a vivid pink sateen shirt and sparkling black tie. For the love of Tim Gunn and your entire editorial staff of GQ, what had been you thinking, man? Ray Romano wasn’t a lot better with an orange tie that was as kitschy as a novelty cummerbund. And Thomas Haden Church, in an open-collar shirt, appeared dressed for a completely different occasion — like brunch.
Kanye West didn’t look cooler by wearing his sunglasses indoors. Ryan Seacrest didn’t look like a hipster with his emaciated tie. And T.R. Knight of “Gray’s Anatomy” does not look higher with a center half. So a lot of these “Grey’s Anatomy” individuals had hair troubles it seemed practically viral.
Kate Walsh’s purple satin Pamela Dennis slink was lovely, however her aspect-swept hair that was sort of pinned up and sort of curly and vaguely messy was most definitely not pretty.
Which brings us to Ellen Pompeo. Such a proficient actress on a splendid present. She wore an exquisite strapless Michael Kors gown with a skinny whip of a belt. On the pink carpet, Pompeo talked about her upcoming wedding ceremony. She appeared so completely happy, perhaps blinded with joy. Is that why she didn’t discover the crime that had been committed on her head? Her locks had been teased and set, sprayed and molded right into a sculptural landscape of high dunes and valleys. The style’s incredible volume was not its most egregious offense. It was the best way through which it transformed a younger women into a matron, overwhelmed an elegant gown and distracted from every sweet word that got here out of her mouth. One could solely look at Pompeo’s hair and surprise, within the patois of her show: Significantly?