It would be understandable – even natural – if the participants of the Sunday night Grammy Awards decided to go subdued. If they decided to look eased and quietly respect the trauma, which are still visited in Los Angeles after recent wild fires, in simple black suits and equally simple dresses. If they reduced their fashion statements to a small blue heart that was worn on so many flaps in honor of the reconstruction effort, the way Trevor Noah host alleviated jokes to focus on raising funds for fire victims. That’s really what everyone expected.
But that’s not what happened. Instead, they went big. They went, if at all, Wilder and Wackier – more la – than ever. Not only over the summit, but across the summit and around the bend. It would be tempting to criticize the dress as a deaf tone, besides being able to consider them a highly public shout of defiance in the face of a disaster; Refusing to give up to give up and celebrate the total glory of character. Or characters.
Chappell Roan made an entrance to the Korset Jean Paul Gaultier Tulle Confection from 2003, printed the Degas Balllerinas images before changing to the robin-vejce blue corset number thom browne before changing to acne acne-studios Award to receive her award for the best new artist. Lady Gaga put on her own black leather dress Samuel Lewis with bloated sleeves and a bulky skirt, thanks to which she looked like the Gothic version of Queen Victoria in sadness – not for Albert, but Altaden – and then turned it off for similar historian Vivienne Westwood Corseced. Doechii offered four versions of Thom Browne not such a small gray suit that culminated in one giant inflation of the skirt with the flag.
Sabrina Carpenter directed Olde Hollywood in the ice-blue satin satin feathers of the JW Anderson NEGLIGEE and a column of gold crystal network VA-Va-Voom Versace, as well as Cardi B in Leopard sedard Roberto Cavalli. Charli XCX was wearing 230 yards for Jean Paul Gaultier Couture. Alicia Keys looked like a Renaissance royal rank in Gilded Dolce & Gabbana.
And so it went.
Throughout the Teddy Swims’s Cafe Au Lait Suit were pearls, the whole flower shop at the top of Avery Wilson’s, Castle on Jaden SmithHead and acry of ecological skin edges that turned around the neck of Shaboozeey’s diesel jackets. And there was a naked look (good, always naked), with permission Shocking appearance of the wife yeBianca Censori, but also thanks to the complete Christian dress of Chrissa Teigen with strategically placed beliefs, Madison Beer is a clear Miss Sohee with strategically placed beads and clear … Julia Fox. With underwear.
Willow Smith did not even bother with the tee. Under her coat she was wearing only a shimmering bra and panties.
The red carpet can be many things, especially during the award season. It can be an invaluable marketing opportunity for a fashion house. (See: Schiaparelli, who wore Beyonce in the Golden Bead, Bandanna-Print, Body-Surveying Slip of Dresses and corresponding opera gloves for her historic album of the year.) It can be a personal branded opportunity for celebrity. It can be boring and superficial and completely removed from reality.
Fashion is easily released as frivolous. However, there is a reason to survive even in the worst times. The desire to dress can also, as shown by this year’s grammy, testimony about faith: in beauty, creation, possibilities.
And in this case, in permanent magic in Los Angeles, a city based on imagination, lectures and the strength of imagination, where no matter how bad things can get-and they can be quite bad-withnas.
