The Oscars are, in their essence, and in addition to a business, an act of vanity and resistance. It is about setting an image in collective memory, making sure that in the future, when someone looks for Oscar 2025 In a digital file, your image on the red carpet continues to appear among the first.
Cinema aspires to immortality, and haute couture guarantees it. A 1956 dior dress revived in 2025 is a bridge between times, a challenge to the expiration of fashion and the same fragility of time. What the stars took last night was not only luxury, but a piece of history hilvanado with gold thread.
The true winners of the night are not always the ones who take the stage. Sometimes, just walk to the red carpet, with a straight back and the certainty that, in a world where everything happens, its image will be recorded forever in the retina del spectacle.
In Hollywoodthe real show does not begin with the foreground of the golden statuette, even with the trembling speech of an actor who has waited his entire career for this moment. No. The great moment occurs long before, when the Red carpet It is deployed as a velvet language and the shadows of the flashes illuminate the parade of ethereal creatures wrapped in meters and meters of fabric, in attire that seem to have been dreamed by the gods and materialized by the hands of a goldsmith in the haute couture sanctuaries.
In this edition of the Oscar, while AorSean Baker’s film, swept with five of the main awards, another silent but fierce contest was fought on the red carpet: that of absolute beautythat of perfection worked staged in the Ateliers of Paris. Winning an Oscar is a triumph for an actor’s career; Dressing a dior, a Schiaparelli that challenges the gravity or a chanel that has required more than 500 hours of clothing is a victory in the only land where Hollywood still pays supplies to Europe: that of style.
From Paris to Los Angeles: a parade of goddesses
Just a month ago, the royalty of cinema and the fashion aristocracy gathered in Paris for Haute Couture Week, and the Hollywood stars, cunning and predictable, had to be taking grades avidly. There was not necessary to wait too long for the most sublime dresses of the season to make their appearance in the big night of the cinema, such as trophies conquered in the most legendary fashion houses.
Mikey Madisonthe main protagonist of Aorhe made it clear when he appeared wrapped in a dior textile jewel: a pink satin dress empowered with black velvet, exact recreation of a model of the Bal à Paris collection of 1956. A blow of effect that converted the actress into a heroine exit of a film from the golden age of Hollywood, with the complicity of Maria Grazia Chiuri Of the great Parisian dances.
Next to him, Ariana Grande He seemed to escape from a watercolor of John Singer Srgent with his Schiaparelli Color Champagne, an architectural dress that paid tribute to the great geniuses of Haute Couture: Charles Frederick Worth, Madame Grès and Yves Saint Laurent. The piece, departure from the Icarus collection of Daniel Roseberry, had been the most commented in January and, last night, in the skin of the Wicked Star, it was confirmed as a masterpiece.
If Hollywood has some monarchy – with its lineages, its dynasties and its power struggles – haute couture is its only legitimate crown. Only a few can access these dresses, as if the designs still operate under the rules of the Court of Louis XIV, where it was not enough to have money: the elite had to be belonged.
Private Armani, Chanel O Givenchy
Demi Moore y Felicity Jonesfor example, the Italian response to French sewing appeared with Armani Privé. Both bet on the silver brightness, a wink to the Hollywood tradition of dazzling, while Elle Fanning achieved a feat in itself: to wear a Givenchy of the new era of Sarah Burton before the designer even presented her first collection for the Maison. A strategic movement that not only placed it at the forefront of the style, but opened the door to the possible return of Givenchy to the official haute couture next January.
Lily-Rose Deppon the other hand, he played the letter of inheritance. With his Chanel made in the legendary Atelier of the Rue Cambon – 515 hours of thorough work – he confirmed that the blood of Vanessa Paradis and Johnny Depp ran through their veins not only in talent, but in an impeccable instinct for fashion.
On the great night of cinema, the most coveted trophy is not always an Oscar. In a less visible but equally fierce power game, stylists become war strategists, competing in secret meetings with fashion houses to get their actress to wear the dress that will be remembered.
The designers, meanwhile, choose with tweezers who give their creations. It is not enough to be famous. The woman who will give life to the piece is sought, which will transform her into something more than fabric and embroidery. In an industry where the image is everything, the dresses become statements of power and sophistication, in a way of telling stories without the need to pronounce a single word.
