But a few new ideas emerged at Sunday night’s Golden Globes: particularly the cold shoulder with a covered up sleeve – in its worst incarnation by Sarah Jessica Parker in Vera Wang and a Heidi meets Princess Leia hairdo. Runner up: Drew Barrymore in winged, open-shoulder sleeves by Monique Lhuillier.

THE COLD SHOULDERS

There was the tux, certainly not a new idea, but worn with unparalleled panache by Evan Rachel Wood in Altuzarra.

And there was the pretty in pink brigade, led by two of the biggest winners of the evening, style and otherwise. Emma Stone was star bright in a twinkling gown by Valentino, the perfect look to pick up her award for La La Land, while Claire Foy’s pink sparkler from Erdem channelled ever so slightly – with its romantic sleeves – her role as the young Queen Elizabeth.

PRETTY IN PINK

Stone’s look swept the red carpet just as the movie did the awards. It twinkled, didn’t blind with its subtle sparkle. One quibble: the Valentino gown did not need the heavy diamond choker – a simple sparkling pendant of moon or star would have been perfect.

Speaking of chanelling, Natalie Portman’s retro-esque Prada was a nod to the era of Jackie O. Terrible colour, though.

Another notable pink frock was on Lily Collins, with a fabulous face and lips, and an overwrought pink illusion lace gown by Zuhair Murad. She’s so young and lovely, why go overboard on rococo details?

And then there was Carrie Underwood, in a ruffled rosette pink confection, very fashion forward, but she made it onto several worst dressed lists (I liked it). Also, Felicity Jones in pink and silver bowed Gucci, candy sweet and juvenile (I didn’t like it). Which just goes to show that runway does not translate to red carpet.

The red carpet started with a parade of black – Mandy Moore in a V plunge by Naeem Khan, Kristen Bell in a wide rectangular plunge by Jenny Packham, and Amy Adams with a shelf-like bodice by Tom Ford. Soon enough, like fashion itself, we were all over the map in colour, shape, and mood.

So the style winners:

Emma Stone, Claire Foy, Evan Rachel Wood, Naomi Campbell (duh), Kristen Wiig.

And the losers:

Sarah Jessica Parker, Natalie Portman, Felicity Jones, and Jessica Biel with ridiculous plunge, side boob and an incomprehensible skirt by Elie Saab.

And just one word about Meryl Streep. Wow. 

PRETTIEST IN PINK

Emma Stone in Valentino: the brightest star. HFPA PHOTO.

JUST YES

Kristen Wiig in pixie and Reem Acra: gets my vote. HFPA PHOTO

Rachel Evan Wood in Altuzarra the tux is a gal’s best friend. HFPA PHOTO

DON’T TAKE THE PLUNGE

Mandy Moore: the deep plunge is old hat. HFPA PHOTO

THE ANTI-PLUNGE

Amy Adams in Tom Ford. HFPA PHOTO

JUST NO

Jessica Biel: everything gone wrong.

The post The Golden Globes: the prettiest in pink, the passé plunge and the trend du jour appeared first on Eva Friede.

For glamour and elegance, look no further than Tom Ford’s plunging, slinky white gown for Gucci – or anything by Gianfranco Ferre – including a classic black and white photo by Gian Paolo Barbieri.

For romance, and among my favourites in the show, there is a deep burgundy velvet coat with lavishly gold embroidered collar by Romeo Gigli. And a gown of darling red rose embellishments by Giambattista Valli.

For funky, look to Marni with an oversize suit of honking huge crystals (subtly black, it must be said) or Versace, with a fringed leather cowgirl suit.

For whimsy, two centrepieces in a stunning runway display stand out: a Capucci gown of giant swirling fuchsia and emerald flounces as well as a Valentino by the current designers, Maria Grazia Chiuri and Pier Paolo Piccioli: It’s an extravagant gown of bronze embroidery with a rhinoceros motif. As V&A curator Sonnet Stanfill says: the piece marries the craft of couture with whimsy. And speaking of whimsy, let’s not forget Pucci, with a playsuit on a mannequin on a Vespa.

Organized by London’s Victoria and Albert Museum, Eleganza: Italian Fashion from 1945 to Today traces history of la moda Italiana from the craft of the neighbourhood dressmaker to the rise of names like Armani, Gucci, Prada and Versace.

The runway display at Eleganza exhibition: Left, a Roberto Capucci gown, 1987-88. Right, contemporary Fausto Puglisi.

Gucci gown for Lupita Nyong’o, 2015.

Lupita Nyong’o attends the opening ceremony and premiere of “La Tete Haute” (“Standing Tall”) during the 68th annual Cannes Film Festival on May 13, 2015 in Cannes, France. COURTESY McCORD MUSEUM

Quality and craftsmanship runs like a thread, says Sonnet – pardoning her pun – through the exhibition. One of many pieces that amaze on that count is a Fendi coat for fall/winter 2000/2001 by Karl Lagerfeld. From a distance, it appears to be wool patchwork – it is in fact, fur intarsia.

A pivotal point for Italian fashion came in 1951, when Giovanni Battista Giorgini organized the first fashion show to be presented to buyers from abroad. And one buyer at that very first show was a Montrealer: John Nixon from Morgan’s – and curators are desperate for any information about him. (Readers, be in touch if you have any details.)

The following year, the show moved to the glittering Sala Bianca at the Pitti Palace in Florence.

Stanfill said there was a lot of animosity from the French when the Italian shows started up.

She recalled a quote from Pierre Balmain: “Let the American buyers go play with baby bonnets in Italy. They’ll come to Paris for their real fashion.”

So there was this sense that the Italian designers were dabbling, but there was this focus on textiles – there was a lot of commentary at the time about the quality and inventiveness of the textiles, Stanfill said.

“But also, in the ‘50s, Italian couture was a third cheaper than the French.”

Asked how Italian fashion differs from the French, Stanfill said it depends on the decade we’re look at. Today, she said, “The Italians are little less formal than the French. There is a sense of being at ease in your own skin.”

More marvels to seek out:

1955: An empire gown with puffed sleeves by Gattinoni worn by Audrey Hepburn in War and Peace.

1966: A silver sequinned gown with evening coat by Mila Schön worn by Lee Radziwill to Truman Capote’s Black and White Ball.

2015: A custom Gucci of green silk with crystal and floral embellishment worn by Lupita Nyong’o to the Cannes Film Festival.

The exhibition runs May 26 to Sept. 25, 2016, with extended summer hours at the McCord Museum. Films, conferences and a contest with the winning prize (worth $7,000) of a trip to Italy and a shopping spree at Holt Renfrew are on offer as well. Click here for details.

Romantic rose-embellished Valli gown in Eleganza display.

Trouser suit, patterned silk top and synthetic fibre trousers, Emilio Pucci, Italy, 1960s. McCord Museum

Fashion show in Sala Bianca, Pitti Palace, Florence, 1955. McCord Museum

Barbieri advertisement for Gianfranco Ferre. McCord Museum

Evening dress of embroidered net and matelasse coat, designed by Mila Schön, Milan, 1966. McCord Museum

The post Eleganza: must-see Italian fashion exhibition opens at McCord Museum appeared first on Eva Friede.

Go big — or go home.

That’s part of the reasoning for Canadian menswear retailer Harry Rosen to invest $15 million in a newly designed, expanded flagship in the heart of Montreal.

Read more here.

And here’s a sidebar on strong sales and the trends for spring.

The post Harry Rosen spreads wingtips in Montreal, invests $15 million in flagship appeared first on Eva Friede.

With a $15 million investment, the Canadian menswear luxury retailer has added spit and polish and a who’s who of designer boutiques – plus 70 per cent more space – to the store.

Larry Rosen and communications director Tim Gallant showed off the store Friday. There are boutiques for DSquared, Etro, Dolce & Gabbana, Moncler Gamme Bleu, Brunello Cucinelli – and the biggest shoe department of any in the 17-store chain.

Only the Tom Ford boutique remained unfinished – behind a black velvet curtain.

Here’s a few bon mots from Rosen and Gallant on the state of men’s fashion.

“Today’s man is more eclectic and thinks more about what he’s using his clothing for,” Larry Rosen says.

As for trends, there are a lot of berry tones in blazers for men, and jackets and suits are a brighter shade of blue.

“Blue is the story,” Gallant adds.

A full story and interview appears in the Montreal Gazette. And here’s a sidebar on how menswear’s evolution are driving strong sales.

Here are some pictures from the 33,000 square foot store. (We personally are in love with Zegna, the boutique with its rich mahogany fittings, and the scent.)

Yes, valet parking is available on Peel St. at the Harry Rosen Cours Mont Royal flagship.

The Armani boutique.

Trask woven shoes in the shoe department.

Whimsy in colour and print from Etro.

Tie offerings from Zegna.

Larry Rosen took over the business from his father, Harry Rosen.

The post First look at Harry Rosen’s redesigned Montreal flagship appeared first on Eva Friede.